The Greek Sale FOTIS KONTOGLOU (1895-1965) Alexander the Great signed in Greek (lower right) and titled in Greek (upper part) oil on canvas laid on hardboard 22 x 16 cm. £4,000 -

The Greek SaleNew Bond Street, London | 17 April 2019

2 | BONHAMSFor details of the charges payable in addition to the final Hammer Price of each Lot

please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

The Greek Sale New Bond Street, London | Wednesday 17 April 2019 at 2pm

VIEWINGSAthens36 Amalias Avenue10558, AthensTuesday 2 April11am to 8pmWednesday 3 April11am to 8pmThursday 4 April11am to 8pm London101 New Bond StreetW1S 1SR, LondonSunday 14 April11am to 3pmMonday 15 April9am to 4.30 pmTuesday 16 April9am to 4.30 pmWednesday 17 April9am to 12pm

SALE NUMBER 25348

CATALOGUE £20.00

ILLUSTRATIONSFront cover: Lot 32Back cover: Lot 35Inside front cover: Lot 25Inside back cover: Lot 58

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ENQUIRIES LondonAnastasia Orfanidou+44 (0) 20 7468 8356anastasia.orfanidou @bonhams.com

AthensTerpsichore Maria AngelopoulouLola-Theodora StefanidouPhilippe GlyptisTimos Economopoulos+30 210 36 36 404+30 210 36 36 470 (fax)[email protected]@expertise.gr7, Neofytou Vamva Street106 74 Athens

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Please see back of cataloguefor important notice to bidders.

As a courtesy to intending bidders, Bonhams will provide a written Indication of the physical condition of lots in this sale if a request is received up to 24 hours before the auction starts. This written Indication is issued subject to Clause 3 of the Notice to Bidders.

IMPORTANT INFORMATIONThe United States Government has banned the import of ivory into the USA. Lots containing ivory are indicated by the symbol Ф printed beside the lot number in this catalogue.

REGISTRATION IMPORTANT NOTICEPlease note that all customers,irrespective of any previousactivity with Bonhams, arerequired to complete the BidderRegistration Form in advance ofthe sale. The form can be foundat the back of every catalogueand on our website at www.bonhams.com and should bereturned by email or post to thespecialist department or to thebids department at [email protected]

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Bonhams International BoardMalcolm Barber Co-Chairman, Colin Sheaf Deputy Chairman, Matthew Girling CEO, Asaph Hyman, Caroline Oliphant, Edward Wilkinson, Geoffrey Davies, James Knight, Jon Baddeley, Jonathan Fairhurst, Leslie Wright, Rupert Banner, Simon Cottle.

Sale Information

BIDS+44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax To bid via the internet please visit www.bonhams.com

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BUYERS COLLECTION &STORAGE AFTER SALEAll sold lots will remain in collectionsin New Bond Street without chargeuntil 5.30pm Wednesday 1 May 2019. Lots not collected by this time will be returned to the Greek department storage charges may apply

Bonhams can arrange shipmentto the Athens office on behalfof successful purchasers.Those who wish to ship theiritems to Athens please informus by 6pm on the day of thesale for your lots to be includedin our consolidated shipment.Tel: +44 (0) 7968 621 869Email: [email protected]

Please note that Bonhams will be closed from 5.30pm Thursday 18 April 2019 until 9am Tuesday 23 April 2019 for the Easter Holiday. Please note that Alban Shipping will be closed from 5.30pm Thursday 18 April 2019 until 8.30am Tuesday 23 April 2019 for the Easter Holiday.

For small sized paintingsif the largest dimension issmaller than 70cm, therewill be a charge of £200+VAT

For medium sized paintingsif the largest dimension isbetween 71cm and 150cm,there will be a charge of £250+VAT

For large sized paintingsif the largest dimension is151cm or larger, there willbe a charge of £300+VAT. PLEASE NOTE THAT DIMENSIONS INCLUDE FRAMES

SculpturesFor sculptures below 150cm,there will be a charge of£250+VAT. For sculpturesexceeding 150 cm, there willbe a charge of £300+VAT

VATWill be applied at the current rateon all above charges

The following symbol is usedto denote that VAT is due onthe hammer price and buyer’spremium

† VAT 20% on hammer priceand buyer’s premium

* VAT on imported items at apreferential rate of 5% on hammerprice and the prevailing rate onbuyer’s premium

Y These lots are subject to CITESregulations, please read theinformation in the back of the catalogue.

The Greek SaleLots 1 - 88



1 ARYIANNIS TSAROUCHIS (1910-1989)Portrait of Dominique signed in Greek and dated ‘1973’ (lower right) pastel, crayons and pencil on paper 40 x 40 cm.

£15,000 - 20,000€17,000 - 23,000

Provenance Nia Stratos collection, Athens. Private collection, Athens.

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For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.8 | BONHAMS

2 ARYIANNIS TSAROUCHIS (1910-1989)Still life of roses signed in Greek and dated ‘78’ oil on canvas wrapped on board 44.5 x 36.5 cm.

£10,000 - 15,000€12,000 - 17,000

LiteratureYannis Tsarouchis Painting, Y. Tsarouchis Foundation, Athens 1990, no. 532 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 9

3 ARYIANNIS TSAROUCHIS (1910-1989)Pink roses in a vase signed in Greek and dated ‘78’ (lower right) oil on canvas wrapped on board 44.5 x 36.5 cm.

£10,000 - 15,000€12,000 - 17,000



4GEORGIOS JAKOBIDES (1852-1932)Allegorical composition signed ‘G. JAKOBIDES’ (lower right) oil on panel 25 x 35.5 cm.

£8,000 - 12,000€9,300 - 14,000

Painted in 1889. Exhibited Athens, National Gallery and Alexandros Soutzos Museum, Jakobides Retrospective, 14 November 2005-30 January 2006 (illustrated in the exhibition catalogue curated by O. Mentzafou-Polyzou, p.136, no. 15). Literature O.Mentzafou-Polyzou, Jakobides, Adam editions, Athens 1999, p.61 (illustrated). A.Kottidis, Greek Art, 19th Century Painting, Ekdotiki Athinon editions, Athens 1995, no 118, pp. 241-242 (discussed), p. 148 (illustrated).

THE GREEK SALE | 11For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

5 ARGEORGIOS BOUZIANIS (1885-1959)Ein Mädchen signed (upper right); signed and titled on the pass-par-tout watercolour and pencil on paper 45.5 x 34 cm.

£6,000 - 8,000€7,000 - 9,300

Painted c.1928. Literature D. Deliyannis, Yorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 292, p. 295 (catalogued), p. 182 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lotplease refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.12 | BONHAMS

6EUROPEAN SCHOOL, 19TH CENTURYa) Armed Greek soldier oil on canvas 29.5 x 24.5 cm. EUROPEAN SCHOOL, 19TH CENTURY b) Greek warrior oil on marble 20 x 15 cm. GERMAN SCHOOL (c.1830-1840) c) Greek beauty oil on canvas 27.7 x 21.5 cm.

(3)£3,000 - 5,000€3,500 - 5,800

Provenance a) Greek Sale, Christie's, Athens, 4 December 1995, lot 3.

6 (c)

6 (a)

6 (b)


7CARL HAAG, O.W.S. (GERMAN, 1820-1915)The Parthenon signed ‘Carl Haag.’ (lower right) watercolour on paper 30 x 60 cm.

£2,000 - 3,000€2,300 - 3,500



8VASILIOS CHATZIS (1870-1915)Greek shore signed in Greek (upper left) oil on panel 58 x 120 cm.

£20,000 - 30,000€23,000 - 35,000

We are grateful to Professor M. Vlachos for his assistance in authenticating this lot.

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The son of a shipowner and an eminent exponent of the Munich school, though he never studied at the Bavarian capital’s Academy of Fine Arts, Chatzis was an exceptional talent, often rivalling his great teacher C. Volanakis1 (compare C. Volanakis, Sunset promenade with ships in the distance, lot 25). Capturing a tranquil seashore scene with compelling naturalism, Chatzis’s Greek shore is a highly accomplished work distinguished by crisp design, colour sensitivity, romantic feel and excellent compositional balance. Note how the low horizon that gives full value to the spaciousness of the sky is intersected by the vertical

accent of the boat mast to capture the absolute stillness of the hour. Demonstrating great skill in rendering the two groups of people perfectly integrated in their natural surroundings, this fascinating image of beached boats and fishermen at work chants the stories of everyday life on the Greek seacoast. 1. “When you look at his pictures you are reminded of Volanakis”. G. Vokos, “Vassilios Hantzis” [in Greek], Kallitechnis magazine, no. 18, September 1911, p. 201. See also M. Vlachos, Greek Marine Painting, Olkos editions, Athens 1993, p. 231.



9 ARFOTIS KONTOGLOU (1895-1965)Alexander the Great signed in Greek (lower right) and titled in Greek (upper part) oil on canvas laid on hardboard 22 x 16 cm.

£4,000 - 6,000€4,700 - 7,000

Painted c.1930. Provenance The estate of the artist.

Exhibited Athens, National Gallery - Alexandros Soutzos Museum, Fotis Kontoglou, November 1978, no. 188 (illustrated in the exhibition catalogue, p. 120). Thessaloniki, Archaeological Museum, Macedonian Centre of Contemporary Art, XXI Dimitria Cultural Festival, Fotis Kontoglou Retrospective Exhibition, November 5 - December 15, 1986 (illustrated in the exhibition catalogue, no. 36 and in the festival’s general catalogue, p. 66). Tinos island, I. Orfanos Cultural Centre, Fotis Kontoglou, Journey to the Island of the Blessed Virgin, August 15 - September 10, 2000, no. 14 (illustrated in the exhibition catalogue). Literature N. Zias, Photis Kontoglou, Painter, Commercial Bank of Greece edition, Athens 1993, p. 56 (discussed), no. 96 (illustrated). Zygos magazine, no. 31, September-October 1978, p. 14 (shown in a photograph with the artist at his home-studio).


10 ARNIKOS ENGONOPOULOS (1910-1985)Vierge à l’ Enfant signed and dated in Greek (lower right) egg tempera and gold leaf on panel 39.8 x 31.5 cm.

£5,000 - 7,000€5,800 - 8,200

Painted in 1949.

Provenance Private collection, Athens.

Literature K.Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no 365, pp. 265 and 432 (illustrated).



A national treasure and an artistic gem by the ‘wandering magician of Greek history’1, this fascinating canvas explores a mythical, ideal world that stirred the artist’s imagination since his early childhood. The scene illustrates the closing episodes of the Trojan War as related by Homer in his Iliad: the death of Paris, the Trojan horse and the sack of Troy. After laying siege to the city for ten years, the Greeks finally took it by ruse rather than force. Pretending to give up their enterprise and embarking in their ships, they left behind an enormous wooden horse in which their best men were hidden. Despite priest Laocoon’s warnings, the Trojans, overjoyed at seeing the siege come to an end, dragged the horse inside their walls. While they feasted that night, the Greeks crept out of their hideout, opened the city gates to their companions and sacked Troy.2 The wealth of detail is a vehicle of initiation into the artist’s vision; a means of rendering more tangible to the spectators’ imagination the world of gallantry and legend they are invited to contemplate. The attacking Greeks on the right foreground are clad in short blue tunics, gold breastplates and helmets and crimson red cloaks, recalling the artist’s representations of Alexander the Great and Byzantine Emperor Constantine Palaiologos (compare Battle of Alexander the Great and Emperor Constantine XI Palaiologos at the walls of Constantinople, Bonhams Greek Sales 16/11/2016 and 24/04/2013 respectively). As noted by Y. Tsarouchis, “this outfit known from the folk woodcuts of Erotocritos and the Roman soldiers in 19th c. post-Byzantine icons, is identical to Italian opera costumes, as designed by famed set designers and, long before them, by such greats as Botticelli and Raphael, when they painted military saints or archangels.”3 Τhe correlation between archaic Greeks, Alexander and Constantine shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory and heroism as a form of timeless Hellenism constantly reborn in the present. His fascination with the idea of eternal Greece is expressed without having to succumb to historical or topographical accuracy. As perceptively noted by G. Petris when discussing this lot in his book on Theofilos,

“the group of hilltop houses on the upper left corner closely resembles a contemporary village. Most likely, this scene is composed of the artist’s fragmentary recollection of previous representations.”4 There is a distinct sense of home and domesticity in Theofilos’s vision of the faraway past. Myth and history are filtered through the artist’s rich imagination and transformed into the enthusiasm sparked in him by valour and heroic achievement. Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of descriptions found in demotic songs. The linear arrangement of the warriors, the symmetry and rhythm of the composition and the impression of an immutable reality, take one even further back to Archaic Greek vase painting where all episodes or figures are generally set side by side in a paratactical presentation like beads on a string. Moreover, the picture’s lengthy title, inscribed on the upper and lower framing band, reflects the painter’s desire to provide a full description of his subject by leaving nothing obscure. On the contrary, the visual act is clearly expressed, while all phenomena are thrust forward to the narrative surface, where they receive even illumination in a flat, continuous present—an approach to representation that is a fundamental structural principle of the Homeric epics.5

11THEOFILOS HADJIMICHAEL (1871-1934)The Trojan Horse signed in Greek (lower left); dated ‘1925’ and inscribed on the upper and lower part natural pigments on zinc 51.3 x 72 cm.

£30,000 - 50,000€35,000 - 58,000

Painted in 1925. Provenance A. Embeirikos collection, Athens. Private collection, Athens. Literature Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 191 (illustrated). G. Petris, The Painter Theofilos, Exandas editions, Athens 1978, p. 42 (discussed), no. 5 (illustrated).

1 See O. Elytis, The Painter Theofilos [in Greek], Asterias editions, Athens 1973, p. 24. 2 See A. Lang, Tales of Troy and Greece, Wordsworth editions, Hertfordshire 1995, p. 89. 3 Y. Tsarouchis, “The Painter Theofilos” preface to Theofilos, Commercial Bank of Greece, Athens 1967, p. 18. 4 G. Petris, The Painter Theofilos, Exandas editions, Athens 1978, p. 42. 5 See H. Kambouridis - G. Levounis, Modern Greek Art-The 20th Century, Athens 1999, p. 43.

Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 2-4 April 2019. This work will be located in Athens during the auction.

THE GREEK SALE | 19



12 ARSPYROS PAPALOUKAS (1892-1957)Houses in Lesvos signed in Greek (lower right) oil on card laid on cardboard 28 x 33 cm.

£12,000 - 18,000€14,000 - 21,000

Painted in 1924. Provenance Acquired directly from the artist by the present owner.

13 ARSPYROS PAPALOUKAS (1892-1957)Minaret in Lesvos signed in Greek (lower right) oil on card 33.5 x 27 cm.

£15,000 - 25,000€17,000 - 29,000

Painted in 1925. Provenance Acquired directly from the artist by the present owner.

12

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13



14CONSTANTINOS VOLANAKIS (1837-1907)After the inauguration signed in Greek (lower left) oil on canvas 45 x 68 cm.

£20,000 - 30,000€23,000 - 35,000


Provenance Private collection, Athens. This rich scene of strolling officers, sailors on board tenders and observing local folk is set against a spectacular array of bedecked battleships firing cannon salutes,1 strongly reminiscent of two of Volanakis's most famous compositions that convey a jubilant atmosphere of national elation: The Arrival of Princess Sophia in Phaleron, 1889-1890 in a Private collection, and especially The inauguration of the Corinth Canal, 1893, in three versions, held by the Bank of Greece, the National Bank of Greece and Alpha Bank. The Corinth Canal, which connects the Gulf of Corinth with the Aegean Sea cutting through the narrow Isthmus of Corinth, was a major achievement of the Charilaos Trikoupis governments that revolutionised shipping in the Mediterranean and established Piraeus as a key port in the trade routes to the West. When French engineers completed the four-mile-long canal in 1893 after 11 years of work, they finished a job that only Periandros of Corinth in the 7th century BC and Emperor Nero in the first century AD had previously attempted. Until the canal was built, ships sailing between Piraeus and Italy had to round the dreadful Cape Tainaron (Matapan) at the southern tip of the Peloponnese, adding some 200 miles to their journey. The Corinth Canal was also the subject of another Volanakis masterpiece, The cutting of the Isthmus of Corinth (E. Koutlides Foundation, Athens). 1 The customary gun salute was established as a naval tradition in the late sixteenth century. A warship would fire its cannons harmlessly out to sea, until all ammunition was spent, to show that it was disarmed, signifying the lack of hostile intent. As naval customs evolved, guns came to be fired for heads of state, visiting dignitaries or persons to whom honors were being rendered.

THE GREEK SALE | 23



15VASILIOS CHATZIS (1870-1915)Fishing boats signed in Greek (lower left) oil on canvas 30 x 41 cm.

£3,000 - 5,000€3,500 - 5,800



16VASILIOS CHATZIS (1870-1915)a) Low tide, Chalkis signed in Greek (lower right) oil on panel 16.2 x 30 cm. b) Fishing boat signed in Greek (lower right) oil on panel 22.5 x 14.5 cm. (2)

£6,000 - 8,000€7,000 - 9,300


16 (a)

16 (b)



17MICHALIS ECONOMOU (1888-1933)Mega Spileo signed ‘M. Economou’ (lower right) oil on canvas 50 x 60 cm.

£20,000 - 30,000€23,000 - 35,000

Provenance Private collection, Athens. Literature A. Kouria, M. Economou, Adam editions, Athens 2001, no. 93, p. 256 (catalogued), p. 141 (illustrated).

Economou’s Mega Spileo amply demonstrates the artist’s interpretative approach to the natural and man-made environments. Handled with an abstract expressive vocabulary, the imposing landmark and the craggy, overhanging cliffs, with their stylised shapes and undulating, curvilinear forms, become a screen on which the artist projects his inner world. Likewise, the three vertical1 cypresses in the foreground, with their slender, sinuous lines and flowing, delicate forms seem to have lost their earthly substance, generating a sense of spiritual and moral uplift that recalls Parthenis’ beloved cypresses. Infused with ethereal light and a hazy, dreamlike atmosphere, and revealing a magnificent vagueness and poetic uncertainty of space, the entire canvas is transformed into a subjective image charged with symbolic, almost metaphysical import, perfectly matching the religious subject. 1 The vertical is a quintessentially idealistic line symbolising faith and uplift towards the heavens.

Built along a precipitous cliff at the mouth of the Chelmos Cave in northern Peloponnese in 362 AD by Theodoros and Symeon, two monks from Thessaloniki, historic Mega Spileo, the Great Cave Monastery, is reputedly the oldest in Greece and one of the most important pilgrimage sites for Orthodox Christians. Dedicated to the Assumption, the cloister was once among the richest in the Greek world, owning properties in Macedonia, Constantinople and Asia Minor, and housing important Byzantine manuscripts and relics. It was fortified during the Greek War of Independence and though it was repeatedly attacked it never fell into enemy hands. Following a devastating fire, it was rebuilt in 1937, while new buildings were added in the postwar period.

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18 ARYIANNIS TSAROUCHIS (1910-1989)The artist on the Pont Neuf, Villeneuve-les-Sablons signed in Greek and dated ‘74-75’ (lower right) oil on canvas laid on board 100 x 125 cm.

£70,000 - 100,000€82,000 - 120,000

Provenance Nia Stratos collection, Athens. Private collection, Athens. Literature E. Florou, Tsarouchis - Painting, (doctoral dissertation), vol. 1, Athens 1989, no. 863, p. 158 (discussed),p. 266 (catalogued). E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, no. 1105, p. 205 (discussed), p. 287 (catalogued). Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, p. 90 (mentioned), fig. 468 (illustrated). Ioannis Tsarouchis by Alexios Savakis, Kastaniotis editions, Athens 1993, p. 37 (mentioned).

Just as the oldest bridge in Paris is named the new one (Pont Neuf), so Tsarouchis’s classicism is a means to portray the living present. Following the classic horizontal layering used in depicting sequences of topographic formations in panoramic landscapes, the artist produced a discreetly noble and irresistibly attractive picture that captures the timeless allure of Paris. Based on scrupulous observation of his subject, he imaginatively combined echoes of Byzantine icons, Pompeian frescoes, Renaissance paintings and folk art to convey a serene world of pure forms and suggest a balance between the natural and manmade environment. “His cosmopolitan Greekness can accommodate a lot of influences, which it assimilates in its own unique way. Tsarouchis is genuinely Greek and for that reason truly cosmopolitan.”1 Painted in Méru, a commune in the Oise department near Villeneuve-les-Sablons, 20km northwest of Paris, where he had bought a small farm to live, as he said, a natural life,2 this panoramic landscape is an evocative view of historic Pont Neuf, a stone bridge across the river Seine built between 1578 and 1607, as seen from Pont des Arts with its characteristic x-shaped railings shown in the foreground. The centre of the composition is dominated by Île de la Cité with the verdant Square du Vert-Galant occupying its front tip and Sainte Chapelle and Notre Dame in the background. Two separated arched bridge spans connect the small island to Rive Droit on the left and Rive Gauche on the right, with river boats moored across Quai de Conti, not far from Tsarouchis’s legendary home studio in Rue Dauphine. Bathed in the warm daylight of an autumn’s day, simplified in design and translucent in colour, the composition is enlivened by the discreet inclusion of the painter’s self-portrait.3 Rendered effortlessly with a vivid sense of on-the-spot immediacy, the artist’s likeness seems perfectly

integrated into the site, imbuing the picture with a meditative feel. The lyrical tone is further heightened by the breadth and openness of the sky, mottled with a grey-white mass of clouds pierced by the sun’s rays. Tsarouchis, much like the ancient Greeks and Byzantines, these great humanist painters, produced mostly figurative works. “I got involved with the depiction of nature and landscapes quite late in my career. I had many issues to resolve with the human figure, before that.”4 Tsarouchis handles the landscape as a chromatic harmony, a kind of abstract composition. “They say that a painter should work in an abstract style only if he is able to faithfully imitate nature” the artist once said. “I would say the opposite is true; one who understands that painting is a matter of harmony has earned the right to depict nature, because he has great passion.”5

1 C. Yannaras, “Tsarouchis’s Cosmopolitan Greekness” [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 44. 2 See E. Florou, Yannis Tsarouchis, his Painting and his Era [in Greek], Nea Synora - A.A. Livanis editions, Athens 1989, p. 252, note 38. 3 Tsarouchis repeated this composition at a later date, following a commission, adding a seated figure on the bench. (S. Andreadis / Commercial Bank of Greece collection, Athens). 4 Yannis Tsarouchis Retrospective 1928-1981 [in Greek], exhibition catalogue, Macedonian Museum of Contemporary Art - Archaeological Museum of Thessaloniki, Thessaloniki 1981. See also Florou, p. 250, note 31. 5 Y. Tsarouchis, “Notes and Speculations”, Greek Heritage journal, vol. 1, no. 2, 1964, pp. 94-95.

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19 ARSPYROS VASSILIOU (1902-1985)Sails and masts signed in Greek and dated ‘63’ (lower right) oil on canvas laid on board 99.5 x 49.5 cm.

£6,000 - 8,000€7,000 - 9,300


20 ARSPYROS VASSILIOU (1902-1985)End of season / The referendum signed in Greek and dated ‘73-74’ (lower center) acrylic and gold leaf on canvas 81.5 x 116.5 cm.

£8,000 - 12,000€9,300 - 14,000

Provenance Acquired directly from the artist by the present owner. Exhibited Athens, Athens Art Gallery, Spyros Vassiliou “Still Lifes”, November 25 - December 31, 1974, no. 12 (listed and illustrated in the exhibition catalogue). Literature Tachydromos magazine, no. 1077, November 28, 1974, p. 100 (illustrated). Zygos magazine, no. 10-11, September-December 1974, p. 33 (illustrated). Epikaira magazine, no. 331, December 5, 1974, p. 78 (discussed). H. Kambouridis, Spyros Vassiliou, Exhibitions, Ikaros editions, Athens 1982, p. 162 (illustrated).

“By studying the old masters, Caravaggio, Chardin, Zurbaran, Morandi, I moved onto today’s objects—lamps, an old gramophone, a trunk. And I concluded this body of work with some tin cans and a broken chair forsaken at season’s end on the sandy beach of Eretria at sunset.”1 “Dear Lord, grant me the strength, when the sun sets into the sea and gilds everything around it, to paint the trash left there on the beach, now at the end of the season.”2

1 Interview, Epikaira magazine, no. 331, December 5, 1974, p. 78. 2 “Spyros Vassiliou’s Confession”, Zygos magazine, no. 10-11, September-December 1974, p. 30.



21 ARNIKOS ENGONOPOULOS (1910-1985)L’ Aeroport signed in Greek (lower left) oil on canvas 93 x 73 cm.

£60,000 - 80,000€70,000 - 93,000

Painted in 1959. Provenance Acquired from the artist’s wife by the present owner c.1982-83. Exhibited Athens, Athens Technology Institute, Exhibition of Paintings by Nikos Engonopoulos, February 6-18, 1963, no. 16. Athens, Moraitis School Studies Society, Personal Exhibition, November 19 - December 19, 1976, no. 12. Athens, Zappeion Hall, Images of Greek Art II, October 18-30, 1979. Literature G. Kominis, Contemporary Greek Painters and Sculptors, Athens 1962 (illustrated). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 627, p. 306 (illustrated), p. 463 (illustrated). Lost for almost 40 years before being rediscovered by Bonhams in a private collection in Athens, this exquisite Engonopoulos from the late 1950s is flooded with light and colour and bathed in a translucent atmosphere of dazzling clarity and glow, recalling the Minoans immortalised on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco’s work.1 Elegant and masculine with an athletic built,2 the three protagonists in ancient Greek himations and chlamys allude to the heroism of a mythical past, faithfully reflecting the artist’s attitude towards painting as an ideal vehicle to probe into the world of Greekness. All three wear a ring on their index finger, essentially identifying with Engonopoulos himself who used to wear a characteristic ring on the same finger.3 This brilliant picture, included in the artist’s third one-man show, the first after his 1954 Venice Biennale participation and the first to be held in Greece after 1939, introduces the viewer to a fascinating world of poetic metaphor. As indicated by the red-and-white conical windsock on the upper right, the visual act takes place on airport grounds. The airport appears in Engonopoulos’s poem “The totem-like idols of the airport”, whose first three verses read: They left forever / away from us / the huge rocks of the orient.4 As noted by E. Nikoloudaki-Souri, “the poet chooses the airport, a structured space associated with noisy liftoffs and landings, partings and home comings, and sets it as the starting point of his narrative. The totem-like idols and the airport, the place where flights begin and end, indirectly refer to Daedalus,5 the mythical hero who taught mankind how to fly. In other words, he was the first bird-man and in this sense Engonopoulos identifies with him, embracing the age old notion associating poets with birds of flight. The equivalence between the huge rocks of the orient and the totem-like idols of the airport links the poem with collective perception and tradition, according to which the huge rocks are symbolic remnants of a mythical past alluding to the famed gigantic Greeks. The poet, representing the collective subject, implies that the difference between the two symbolic places, the “orient” and the “airport”, fall under the same equivalence. The former is far away and refers to the past and tradition, stability and nature, while the latter is the subject’s here and now, a place of quick transitions, closely linked with the mobility and achievements of modern civilization.”6 In the same vein, R. Zamarou notes: “Engonopoulos

usually refers to a cultural stratum associated with the orient. It could be argued that he represents (hailing from Constantinople) an intermediary between these cultural strata. By standing between the European and Oriental cultures, he created his own cultural amalgam.”7 The visual act takes place in a shallow space reminiscent of a theatrical stage set.8 “The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale is a typically Greek element.”9 This sense of theatricality is accentuated by the inclusion of a stage-like curtain and the use of vivid colour, a key element throughout Engonopoulos’s career. The sparkling, enamel-like yellow,10 red and blue pieces of clothing worn by the three figures, applied side by side on the canvas without tonal gradations, invite the viewer to a festive ritual of pure colour, handled with conscious daring, unique aptitude and undisputed love. As E. Engonopoulou, his daughter, notes, “for him each colour had its own value, its own voice”11, much the same as in Byzantine art, which Engonopoulos always considered the art form Greeks most closely relate to.

1 See M. Lambraki-Plaka “The Timeless Pantheon of Nikos Engonopoulos” [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9. 2 “I am not interested in the face” the great Greek surrealist often remarked. “Each may at his will, place mine or his own there. It’s only the body that I paint. I love it because it is the chalice of life. As sparkling as life is when young.” Apogevmatini daily, 2/8/1969. See also “An Interview with Nikos Engonopoulos”, Manna, no 5, May 1974. 3 As noted by sculptor Nelli Andrikopoulou, the artist’s spouse from 1950 to 1954, “at the Brazilian Cafe, our hangout on Voukourestiou Street, Engonopoulos used to lean on the front counter, his head resting on his right hand with the ever-present silver ring on the index finger, gazing at the passersby.” N. Andrikopoulou, Tracing Nikos Engonopoulos, Potamos editions, Athens 2003, p. 53. See also D. Menti, Faces and Masks [in Greek], Gutenberg publ., Athens 2007, pp. 135-136, note 34, and Chartis review, no. 25/26, November 1988, p. 172. 4 See N. Engonopoulos, Don’t Talk to the Driver, poetry collection, Kyklos editions, Athens 1938. 5 In his painting titled Daedalus (1949), Engonopoulos implies the timeless presence of the mythological hero. A reference to aviation can also be found in his poem Nocturnal Maria, where he pays respect to pioneer aviator A. Karamanlakis. 6 E. Nikoloudaki-Souri, “The Totem-Like Idols of the Airport, The Flight of Poetic Idea and the Accountable Poet” [in Greek], Nea Estia magazine, no. 1804, October 2007, pp. 708-710. 7 R. Zamarou, The Poet Nikos Engonopoulos, a visit of Places and Figures [in Greek], Kardamitsa editions, Athens 1996, p. 36. 8 See A. Kafetsi, “Stage Setting Paradoxes of N. Engonopoulos” [in Greek], Hartis journal, no.25/26, November 1988, p. 32. 9 S. Boulakian, “The Work of Nikos Engonopoulos” in Greek Painters-20th Century[in Greek], Melissa publ., Athens 1974, p. 261. 10 In Engonopoulos’s poetry and painting the color yellow signifies light and formality. See Nikoloudaki-Souri, p. 714. 11 E. Engonopoulou, “Freedom and Discipline” in Nikos Engonopoulos, The Painter and the Poet, p. 23.

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22 ARCOSTAS COULENTIANOS (1918-1995)Femme allongée, 1950 signed and numbered ‘KK 6/8’ (on the left foot) bronze 34 x 88 x 50 cm.

£12,000 - 18,000€14,000 - 21,000

The work is accompanied by a certificate of authenticity from the artist’s son Ben Coulentianos.


23 ARNATA (NATALIA) MELA (BORN 1930)Taurus signed in Greek (on the back-right hock) bronze with black patina 31.5 x 61 x 19 cm.

£8,000 - 12,000€9,300 - 14,000




24 ARYIANNIS TSAROUCHIS (1910-1989)Greek military policeman in front of pink wall with two palm leaves signed in Greek and dated ‘50’ (upper right) oil on canvas 45 x 25.5 cm.

£30,000 - 50,000€35,000 - 58,000

Provenance Private collection, Athens. Exhibited London, The Redfern Gallery, Michael Ayrton, Yanni Tsarouchis, John Paddy Carstairs, May 29 - June 23, 1951, listed in the exhibition catalogue no. 70 (possibly, based on title, date and medium). Athens, The British Council, Exhibition Yannis Tsarouchis, 1932-1952, a Retrospective Selection, February 17-29, 1952, listed in the exhibition catalogue no. 31 (possibly, based on title, date, medium and dimensions). Literature E. Florou, Tsarouchis - Painting, (doctoral dissertation), vol. 1, Athens 1989, no. 338, p. 113 (referred), p. 230 (catalogued). E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, no. 406, p. 267 (catalogued), fig. 115, p. 134 (illustrated). Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, fig. 234 (illustrated). Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, p. viii (discussed). K. Tartari, Yannis Tsarouchis, 100 Xronia, Middletown, DE, USA, 2018, p. 5 (illustrated).

Archaising simplification of form, limited colour scheme, frontal poise3 reminiscent of Byzantine icon painting, confident brushwork, shallow compositional structure4 and bold outlines build up a solid edifice of pure form, perfectly matching the silent inflexibility and almost hieratic posture of the young soldier, transforming him into an earthbound saint of a Modern Greek pantheon.

This signature work by an emblematic figure of Modern Greek culture is a bold statement of the artist’s resolve in portraying familiar images and probing the inner world of Greekness. Captured with compelling realism, expressed not through an emphasis on detail but rather on the conception of the Greek reality of his time, a rough, virile, working-class Greek male—a trademark subject in Tsarouchis’s oeuvre—conveys a world of clarity and truthfulness, recapitulating in his straightforward gaze and harsh facial features the humane dignity and inner truth of Modern Greece. As noted by Nobel laureate O. Elytis, “Tsarouchis’s painting turns our vision away from the imposed, philhellenic reality and focuses it on the reality of the Greeks, which was always latent inside us.”1 Likewise, poet A. Embeirikos holds that, “when looking at Tsarouchis’s work, one has the immediate impression of looking at Greek painting par excellence, more so than in the work of any other Greek painter, with the exception of Theofilos.”2 In both artists everything is clearly expressed and all visual phenomena are thrust forward to the narrative surface where they receive even illumination in a continuous present.

1 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964. 2 A. Embeirikos, “The Triumph of Sensuous Painting” [in Greek], Zygos magazine, no. 72-75, November 1961 - February 1962, pp. 11-12. See also “Yannis Tsarouchis”, Greek Heritage quarterly, vol. 1, no. 2, Spring 1964, pp. 92-93. 3 Most military policemen portrayed by Tsarouchis share a similar pose, with one hand resting on the belt and the other clutching their gun holster. See E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, p. 134. 4 The artist noted that “the figure is intentionally rendered in a tight space. I glued a narrow strip of canvas on the upper part to complete the composition and give it some height. I consider it one of my best Military Policemen.” Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, p. viii.

“I consider this work one of my best Military Policemen” - Y. Tsarouchis

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25CONSTANTINOS VOLANAKIS (1837-1907)Sunset promenade with ships in the distance signed in Greek (lower left) oil on canvas 56 x 100 cm.

£40,000 - 60,000€47,000 - 70,000



Moreover, the soft gradations of light and shade, his loose handling of the moored ships in the background, the transparency of the water and the reflections that play on its surface indicate that Volanakis had absorbed the new artistic currents without abandoning the tenets of academic painting. The depiction of the sun, a motif often found in Greek folk art but rarely encountered in Modern Greek and European painting, endows the atmosphere with transient gleams of light and golden luminosities, accentuating the romantic feeling and recalling not only Claude Lorraine’s masterful 17th century renditions (compare Marine, Soleil Couchant in the Louvre) but also the attempts of the pioneer impressionists to break away from concrete form and object (compare Claude Monet, Impression, Sunrise, Musée Marmottan, Paris). The unity of effect, the sense of space and the loving delicacy with which Volanakis observed every nuance of the seascape are the artist’s means of conveying a feeling of peace and expressing his view of the transience of life. “His romantic soul seeks inner peace in the beauty of a dreamworld full of light and colour, where reverie is a kind of prayer. He is simply interested in a vertical and a horizontal to create a metaphysical stillness. That’s why he prefers calm seas and spring or summer skies. Rarely do his clouds warn of a coming storm.”5 The feeling of peace conveyed by such seascape views inspires the viewer to adopt a dreamlike attitude towards life. “The sea is revealed as a metaphor for the infinite and the ungraspable, the ship as a fleeting presence on the volatile, unfathomable sea, like man faced with eternity.”6

It is in such paintings as Sunset promenade with ships in the distance that Volanakis’ greatness can be fully appreciated. Dating probably from the artist’s early Greek period (1883-1885)1, this outstanding work is a fine rendering of the mellow warmth of atmosphere, strongly reminiscent of the great 17th century Dutch seascape masters. Light and colour animate the scene in the spirit of Willem Van De Velde the Younger, whose Calm Sea (1639) Volanakis is certain to have seen at Munich’s Alte Pinakothek. Though the influence of the Munich School is evident, Volanakis, raised on the islands of Crete and Syros and having experienced the open horizons and the constantly changing sea, could not limit himself to the cerebral conceptions and standardised recipes dictated by academic teachings.2 Moreover, his decision to give up a solidly established career in Bavaria to return to Greece in 1883, and his choice of taking permanent residency in the seaside town of Piraeus, facilitated him in accurately rendering atmospheric changes, delicate nuances of the seascape and soft gradations of light and shade, capturing the poetry of his scenes. As noted by M. Vlachos, a leading authority on the artist, “Volanakis is in constant communion with nature, in a composite relationship from which poetry emerges.”3 Here, his depiction of the tranquil surface of the sea, intersected by the vertical mast of the beached boat in the foreground, combines realistic and romantic elements to capture the absolute stillness of the hour in a harmonious composition and lyrical interpretation of the seascape (compare C. Volanakis, Phaleron Seashore, Bank of Greece collection, Athens). “Often not even a ripple breaks the surface of the sea and only the sails and tall masts chant the harmonies of subdued colours and bring life to the scene.”4

1 The jagged wooden fence surrounded by white wildflowers in the extreme left foreground is also found in Sailing ships by a beach at the A.G. Leventis collection, painted after the artist’s return to Greece, while the diagonal, rather than frontal handling of the seaside house in the left middleground is a formal development introduced around the same time (compare Poros and Village in Mt. Pelion, both at the National Gallery, Athens). See M. Vlachos, Volanakis [in Greek], Peak Publishing, Athens 2016, p. 97. 2 S. Lydakis, Constantinos Volanakis [in Greek], Adam, Athens 1997, p. 64. 3 M. Vlachos, The Painter Constantinos Volanakis (doctorate thesis) [in Greek], Athens 1974, p. 105. 4 D. E. Evangelidis, Greek Art [in Greek], Athens 1969, p. 128. 5 Lydakis, Volanakis, a Pioneer [in Greek], Epta Imeres (Kathimerini), 22/02/1998, p. 14. 6 Lydakis, Volanakis, p. 175.

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26 ARPOLYKLEITOS RENGOS (1903-1984)Church of Panagitsa, Skopelos island. signed in Greek and dated ‘1946’ (lower right) oil on panel 48.5 x 51 cm.

£4,000 - 6,000€4,700 - 7,000

Exhibited Athens, National Gallery and Alexander Soutzos Museum, P. Rengos Retrospective, September 15 – October 19, 1980, no. 56 (listed in the exhibition catalogue, p. 39). Thessaloniki, Efxinos Leschi, 19 May – 3 June 1946, no 63.


27 ARYIANNIS SPYROPOULOS (1912-1990)Houses in the village signed in Greek (lower right) oil on canvas 39 x 49 cm.

£5,000 - 7,000€5,800 - 8,200

Painted c.1950. Provenance Private collection, Athens.



28JEAN ALTAMOURA (1852-1878)Junction in choppy seas signed and dated ‘Jean Altamouras / 1875’ (lower right) oil on canvas 37 x 60.5 cm.

£12,000 - 18,000€14,000 - 21,000

We are grateful to the descendants of the artist’s family for confirming the authenticity of this work. Provenance Private collection, Athens.

“Altamoura produced only a few works and none of them is mediocre. At a time when an attorney in law was being paid fifteen drachmas for a court appearance, a canvas by Altamoura was purchased by the then Ministry of Marine Affairs for 2,000 drachmas.”1 In 1875, Altamoura, this short-lived but exceptional seascape painter who by the age of 24 was already an acclaimed artist enjoying the full support of the Greek Royal Court, was in Denmark on a state scholarship that enabled him to pursue graduate studies at the Academy of Fine Arts in Copenhagen. As noted by G. Piemontese who prepared the artist’s monograph, Altamoura spent the summer of 1875 aboard the frigate “Jylland”, an important vessel of the Danish royal fleet.2 From May 21 to August 23, “Jylland” went on its 10th cruise from Elsinore to Plymouth, Madeira and Cherbourg. According to E. Kypreou, who curated the artist’s major retrospective at the Benaki Museum in 2011, this is highly probable since there are no other works by him with ‘Danish’ subjects during that period other than some drawings from a journey at sea, the frigate itself, as well as different types of ships. Evidently, Altamoura was offered the same opportunity to sail with the royal fleet as any other Danish marine painter.3 (Compare Warship, a watercolour on paper from 1875, showing the same battleship and other similar vessels with Danish flags).

Junction in choppy seas is a fine example of Altamoura’s mature style, demonstrating assurance of technique rarely found in so young an artist. The shifting atmosphere, the metaphysical luminosity of the European north, the mobility of light, the jewel-like details, such as the minuscule figures aboard the vessels, the low horizon in the vein of old Flemish masters and the breadth and openness of the shimmering sky that shines through travelling clouds, have been portrayed with effortless brilliance and loving care, combining academic principles with a vivid sense of on-the-spot immediacy.

1. E. Kipreou, Jean Altamouras, a Tempestuous Life [in Greek], Kathimerini newspaper, 28.6.2009, p. 15. 2. G. Piemontese, Giovanni-Ioannis-Jean Altamura, Foggia 2009, pp. 22,24. 3. E. Kipreou, “The Years in Denmark” in Jean Altamouras, his Life and Works, exhibition catalogue, Benaki Museum, Athens 2001, p. 108.

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29THEOFILOS HADJIMICHAEL (1871-1934)Erotokritos and Aretoussa inscribed in Greek (lower left) natural pigments on canvas laid on board 81 x 59 cm.

£30,000 - 50,000€35,000 - 58,000

Provenance Private collection, Athens. In a luxuriant garden inhabited by a majestic peacock and embellished with a frame of boldly coloured roses, Erotokritos has climbed a rope ladder to reach the balcony of his beloved Aretoussa. The young princess embraces him and leans in to kiss him, stretching her wonderful long neck set against the cascading locks of her hair. The composition is further animated by a row of buildings in the background used as a stage set for the meeting of the two young lovers. Written by Vintsentzos Kornaros around 1640, at a time when Crete laid across the lifelines of commerce and culture between Venice and Constantinople, Erotokritos is considered the masterpiece of Cretan poetry and a milestone in the history of Greek literature. Setting great store by true love, courage and patriotism, the poem enjoyed immense popularity among Greeks, who learned about it from refugees after the fall of Crete in 1669, and its hero became a symbol of suffering Hellenism, exalted side by side with Digenis Akritas and Alexander the Great.1 “The poem was very popular because Aretousa was as charming as Areti, a girl who featured in many demotic songs, while Erotokritos displayed the same qualities as the palikares of Cretan epic poetry. The two heroes are not foreign imports from the Renaissance. On the contrary, they are Greeks, inherently carrying within them Greek tradition and history.”2

Though Erotokritos is represented in a typical Renaissance outfit and the scene does not correspond exactly to the poem, Theofilos’s painting is imbued by a profoundly Greek atmosphere. As noted by K. Nitsos, “Theofilos’s self-assured and courageous Aretoussa, the gaze, the luxurious moustache and the facial traits of his Erotokritos, which make him look no different than the other braves he painted, endow the scene with an air of folk gallantry and honesty, poignantly capturing -even reviving- the Greek spirit and the Greek ethos of the Cretan Renaissance. Note the fascinating pictorial, even theatrical interplay of stripped and monochromatic fabrics and the different shades of blue generated by the alternating pleats and folds. Amidst ochres and reds, this radiant blue echoes the magnificent Byzantine harmonies that blend with both western influences and traditional sources without seeming to clash or be out of place.”3 Erotokritos has struck deep roots in the Greek soul and, not surprisingly, Theofilos’s legendary wooden chest contained a popular edition of this celebrated narrative poem.4

1 See V. Kornaros, Erotocritos, Papazissis editions, Athens 1984, pp. 19-22. 2 I. Alexopoulou-Kaliyanni, Modern Greek Painting-Sculpture-Literature, doctoral dissertation, Athens 1992, vol. 1, p. 111. 3 K. Nitsos, “A Short Note on Theofilos” [in Greek], Theatro magazine, no.4, July-August 1962, p. 7. 4 G. Seferis, Dokimes (Treatises) [in Greek], Fexis editions, Athens 1962, p. 58.


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30 ARSPYROS VASSILIOU (1902-1984)Lucky charms and sail boat signed in Greek and dated ‘81’ (lower right) acrylic on canvas 53 x 78.5 cm.

£4,000 - 6,000€4,700 - 7,000


31 ARTHANOS TSINGOS (1914-1965)Harbor View signed and dated ‘TSINGOS / 62’ (upper left) oil on canvas 65 x 100 cm.

£10,000 - 15,000€12,000 - 17,000

Provenance Private collection, Athens. Exhibited Athens, Athens Technological Institute Exhibition Hall, Exhibition of Works by Th. Tsingos (1914-1965), April 13-20, 1965, no. 39 (listed in the exhibition catalogue). Athens, National Gallery-Alexandros Soutzos Museum, Thanos Tsingos, July 1980, no. 150 (listed, p. 48, and illustrated in the exhibition catalogue). Literature C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 1, Athens 2000, pp. 284-285 (discussed).



32 ARYIANNIS MORALIS (1916-2009)Composition signed in Greek and dated ‘1951’ (lower left) oil on canvas 73 x 60 cm.

£70,000 - 100,000€82,000 - 120,000

Painted in 1951. Provenance Private collection, Athens. Exhibitions Athens, Zappeion Hall, Panhellenic Art Exhibition, April-May, 1952, no. 334 (listed in the exhibition catalogue, p. 18). Athens, Benaki Museum, Y. Moralis, Angels, Music, Poetry, October 2001, no. 148 (referred and illustrated in the exhibition catalogue, pp. 118-119). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019. Literature Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 76, p. 86 (illustrated). C. Christou, Moralis, Adam editions, Athens 1993, no. 48 (illustrated). C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 1, Athens 2000, pp. 226-227 (discussed). Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 56 (illustrated). Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 44 (illustrated). Doric in its dignity and Ionian in its subtlety and elegance, Moralis’s Composition captures the grandeur and aura of the classical not as a lifeless relic of ancient glory but as a form of eternity constantly reborn in the present. By ingeniously balancing lyrical sensitivity and ordered thought, the artist achieves a modern realization of the classical ideal: the elimination of the temporary, the elevation of form to a symbol and the initiation to a world of ideal rhythms, where form and spirit reclaim their fragmented wholeness. The monumental quality and purity of form, the subtle use of colour and spatial relationships, the disciplined rhythm dictated by a deep sense for human scale, the serene atmosphere imbued with meditative silence and elegiac feeling, the shallow compositional depth reminiscent of sculptural relief, the composed immobility and the austerity of the horizontal and vertical lines that set up a perfectly balanced geometric edifice, echo the timeless values of Greek idealistic art.1 (Compare Seated nude, 1958, Rhodes Municipality Modern Greek Art Museum). As noted by Athens National Gallery Director M. Lambraki-Plaka, Moralis was the sole exponent of the 1930s generation whose style was inspired by ancient Greek antiquity and especially by classical stele”.2 «In the early 1950s, Moralis turns towards classical antiquity and formulates a pictorial style highly imbued with pronounced elements of Greekness. He poses new and complex challenges. His means become simpler, frugal and more substantial, enriching his work with new expressive possibilities and values. He emphasizes schematisation and moves to chromatic abstractions. His colours maintain the materiality of paint. His

palette, inspired by the 5th-century painter Polygnotus3, is limited to earthen tones, ochres, tonal gradations of blue and black, brick red and white. He insists on flatness, unity and the composition’s inner geometry, abandoning descriptive elements and details and concentrating on the essential, which leads him to a balance between form and content.”4 Recalling his work from this period, Moralis once mentioned an incident related to the Bonhams picture: “I remember my friend Kostakis Zaimis coming to my studio in Nea Kifissia in 1951, when I was painting Composition, and telling me: “Paint no more! You’ll overdo it.”5 Reviewing the 1952 Panhellenic Exhibition, in which Moralis participated with three works, including Composition from 1951, art critic D. Evangelides noted: “Moralis renders the youthful female bodies in exquisite detail and unaffected simplicity as they rest and enjoy their rich and vibrant material substance in their comfortable postures.”6 As perceptively noted by C. Christou, “with the juxtaposition of the nude and clothed female figure, the vertical and horizontal themes, tactile and colour elements and biomorphic and geometric types, the picture compels the viewer to engage in a dialogue.”7 All these conflicting elements pose intriguing questions of interpretations without pointing towards a single answer. Moralis wanted viewers to draw their own conclusions, just as Bellows or even Titian had left viewers to explore the intricacies of their famous compositions featuring two seated women—one nude, one dressed—without explanatory narratives (compare G. Bellows, Two women, 1924, sold by Bonhams, New York, 19/11/2014, and Titian, Sacred and profane love, c. 1514, Galleria Borghese, Rome). As noted by Christou, “in Moralis’s paintings, one may trace a progress from earthly to heavenly love, from the sensual aspects of the subject to the universal and eternal, to the metaphysical and the transcendental.”8 1 See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean, Athens 1999, p. 126. 2 M. Lambraki-Plaka in “A Century of Moralis” [in Greek], To Vima daily, December 25-27, 2009, sect. B2, p. 6. 3 «The colours I use are based on the Polygnotian palette: black, brick red, ochre, indian blue and black. I once told Marina Lambraki-Plaka that I fancy the colours of the grouse. All these grays, the many gradations of black, the touches of white and the red that shines on their beaks and legs.” Y. Moralis, Angels, Music, Poetry, exhibition catalogue, Benaki Museum, Athens 2001, p. 118. 4 Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 52. 5 Y. Moralis, Angels, Music, Poetry, exhibition catalogue, Benaki Museum, Athens 2001, p. 118. 6 D. E. Evangelides, “Exhibitions” [in Greek], Nea Estia magazine, no. 598, June 1, 1952, p. 763. 7 See C. Christou, Moralis, Adam editions, Athens 1993, p. 15. 8 Ibid, pp. 20, 33, 34.

“We love beauty and simplicity” - Pericles

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33 ARPARIS PREKAS (1926-1999)White sails signed in Greek (upper left) oil on canvas 95.5 x 95 cm.

£10,000 - 15,000€12,000 - 17,000

Painted c.1968-70.


34 ARPARIS PREKAS (1926-1999)Parallel lives signed in Greek (lower left) oil on canvas 70 x 100 cm.

£10,000 - 15,000€12,000 - 17,000

Provenance Acquired directly from the artist by the present owner.



35 ARYIANNIS TSAROUCHIS (1910-1989)Autumn 1971 signed in Greek and dated ‘71’ (lower right) oil on canvas 60 x 48.5 cm.

£40,000 - 60,000€47,000 - 70,000

Provenance Athens Art Gallery collection, Athens. Private collection, Athens. Literature Zygos art magazine, no. 4, September-October 1973, p. 41 (illustrated). Kathimerini daily, January 19, 1975, p. 10 (illustrated). Nea Epicheirisis, Business Administration Bulletin, vol. 17, no. 160, May 1978, p. 101/513 (illustrated). E. Florou, Tsarouchis - Painting, (doctoral dissertation), vol. 1, Athens 1989, no. 787, p. 261 (catalogued). E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, no. 939, p. 283 (catalogued). Epiphaneia, Pierides Art Gallery - Kinisis Business Administration Bulletin edition, Athens 1992, p. 71 (illustrated).

Silently immobile in shallow space like a precious butterfly pressed under glass, Tsarouchis’s personification of autumn celebrates the purely pictorial realisation of a symbol’s everlasting value. Striking immediacy, honesty of representation and genuineness of character build up an ideal world liberated from the fleeting moment. Painted in earthy colours, highlighted by solid outlines and set against a dark background reminiscent of many works by Giovanni Bellini (compare Pieta with Four Angels, 1470-1475, Pinacoteca Comunale, Rimini), the young sitter, the artist’s niece Korina Koutouzi, conveys a striking immediacy and resilient allure, echoing Byzantine icons or Fayum1 and Renaissance portraits. Tsarouchis recalls: “An issue that concerned me among other symbolisms was the age-old subject of the four seasons. Around 1966, a collector commissioned me to paint this long studied theme. I painted four figures—two couples—on a single canvas between 1968 and 1969 in Paris where I lived and worked at the time. Teriade saw this work and commissioned the Four Seasons on four separate canvases, with my nieces Korina and Despina as models. Despina as Spring and Winter, and Korina as Summer and Autumn.”2 Discussing the Bonhams picture in a 1975 article accompanied by a photograph of the painting, art critic M. Karavia noted that “after a quick look at Tsarouchis’s portraits in Athens it is evident that his Renaissance related inquiries, which started in 1967, continue to preoccupy him to this day. His harking back to the monochromatic—often black—backdrops of the Flemish masters, as is the case with this painting, or to Bellini’s portraiture became his own means of expression.”3 “The same way Tsarouchis glorifies the light in Theofilos’s paintings, he is enchanted by the darkness of Caravaggio. When he paints on black backgrounds, in the vein of the Italian master, he does not rely on an interplay of light and shadow to build up form but, rather, he illuminates his figures from within according to the Byzantine tradition.”4 Featuring solid outlines, lively brushwork, bold application of paint and an utterly captivating non-finito effect,5 this allegorical portrait conveys a sense of reserved authority and lofty stature, with the artist—who was thoroughly familiar with the European artistic tradition—employing established art historical conventions from disparate historical eras to elevate his model to a mythical level. Tsarouchis himself said that when he painted the personifications of the four seasons he was influenced by the 17th and 18th century old master paintings he saw in French

museums, blending age-old techniques with his personal artistic visions.6 “Tsarouchis draws on allegory—a rhetorical mode used as a cryptic form of artistic expression in Italian Renaissance and Baroque paintings—not simply so as to give an aesthetic dimension to an abstract concept through a specific form, but rather to make the most of its narrative and image-making abilities. As a typical rhetorical scheme of old master paintings, it invests his work with an aura of classicism.”7 As noted by Athens National Gallery Director M. Lambraki-Plaka, “Tsarouchis’s figures managed to survive the iconoclastic crusade of modern art, which never tired of demolishing, distorting or expelling the human form. Tsarouchis did not give in to this negative aesthetic theory, which preached the systematic rejection of the rules of Western tradition. He is one of the few painters who managed to cross the tempestuous 20th century by keeping intact the precious palladium of the human figure. His art is a modern day incarnation of Noah’s Arc.”8 1 Realistic and contemplative portraits produced in the Nile Valley during Roman times bearing the marks of an unquestionably Greek style deeply rooted in the Hellenistic School of Alexandria. They kept alive the conventions of naturalistic representation and passed them on to the Byzantine icon painters. Fayum portraiture was a major source of inspiration for Tsarouchis in his effort to reinterpret the age old tradition of Greco-Roman and Byzantine art in a modern and vigorous manner.2 Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, p. x. 3 M. Karavia, “The New Pictorial Face of Yannis Tsarouchis” [in Greek], Kathimerini daily, January 19, 1975, p. 10. 4 A. Levidis, “Herald of Greekness” [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 274. 5 “Works of art have a way of completing themselves” responded Tsarouchis when someone happened to remark that a painting of his seemed empty or unfinished. See G. Tourkovassilis, “My Teacher Y. Tsarouchis” [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 517. 6 See Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, p. 85. 7 A. Kafetsi, Yannis Tsarouchis - Between East and West, exhibition catalogue, Greek Ministry of Culture, Athens 2000, pp. 21-22. 8 M. Lambraki-Plaka, “Yannis Tsarouchis and the Palladium of Painting” [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 452.

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36 ARNIKOS NIKOLAOU (1909-1986)Two figures with pomegranate signed in Greek and dated ‘3/78’ (lower right) oil on canvas 96 x 128 cm.

£8,000 - 12,000€9,300 - 14,000

Provenance Zoumboulakis Galleries, Athens. Private collection, Athens. Literature Nikolaou, editing by O. Mentzafou-Polyzou, Adam editions, Athens 1998 (p.167 partially illustrated).

37 ARYIANNIS MIGADIS (1926-2017)The blue balloon signed in Greek (lower right) mixed media on hardboard 70 x 50 cm.

£5,000 - 7,000€5,800 - 8,200

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37



38 ARALECOS FASSIANOS (BORN 1935)Ma chambre signed in Greek (upper left) and dated ‘1975’ (upper middle); titled, dated and signed ‘ma chambre / 1974-1975 / A.Fassianos’ (on the reverse) oil on canvas 139.5 x 119.5 cm.

£25,000 - 30,000€29,000 - 35,000

Provenance Zoumboulakis Galleries, Athens. Private collection, Athens. Literature Sima art magazine, no. 21, January-February 1978, p. 23, no. 4 (illustrated). Fassianos, Kedros editions, Athens 1980, p. 105 (listed), p. 67 (illustrated). Tetarto magazine, no. 59, September 1988, p. 57 (illustrated).

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39 ARNIKOS HADJIKYRIAKOS-GHIKA (1906-1994)Trees and sun rays signed and dated ‘GHIKA / 62’ (lower right) oil on canvas 40.5 x 30.5 cm.

£12,000 - 18,000€14,000 - 21,000

Literature C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 1, Athens 2000, p. 173 (referred). K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, no. 318, π. 197 (discussed), p. 296 (illustrated). Discussing Trees and rays in her book on Ghika, K.C. Valkana noted: “Gestural markings and schematisations are employed to capture different plant varieties as well as highly energetic natural elements, such as natural sunlight.”1 1 K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, p. 197.

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40MICHALIS ECONOMOU (1888-1933)Fishing boat at sunset signed ‘M.Economou’ (lower left) oil on board 54.2 x 65.5 cm.

£20,000 - 30,000€23,000 - 35,000

Provenance The Antonopoulos collection, Patras and Athens. Thence by descent to the present owner’s private collection, Canada and United States. We are grateful to Mrs Afroditi Kouria for her assistance in authenticating this lot. Handled with loosely painted, abbreviated curvilinear forms and stripped of superfluous descriptive detail, Economou’s peacefully floating boat1 is transformed into a highly evocative image that feels more like a distant recollection than an actual sensory experience. Fishing boat at sunset prioritizes atmosphere and lyrical feeling above realistic depiction. Introduced by the water reflections that lead the eye from the foreground to the middleground, the poetic mood permeates the entire seascape, turning it into an expressive field that records the artist’s emotional and intellectual response to the natural environment. The juxtaposition of soft and heavily worked forms bathed in diffused light creates an ambivalent sense of presence/absence in a poetic ‘timescape’ where human presence is suggested rather than actually depicted.2 Note how the fisherman is so integrated in the poetic atmosphere that he dissolves into his natural surroundings, partaking in the ethereal vagueness and lyrical uncertainty of space.

Moreover, the depiction of the sun, a motif often found in folk Greek art but rarely encountered in Modern Greek and European painting, endows the atmosphere with transient gleams of light and golden luminosities, accentuating the romantic feeling. In 1927, D. Kokkinos noted that the works by Economou were true works of poetry, but so masterfully rendered that their significance as paintings prevailed. 1 For a discussion of the boat motif in Economou’s work, see A. Kouria, Michalis Economou, Fifty Years from his Death [in Greek], Zygos magazine, no. 56, November-December 1982, p. 15. 2 Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, pp. 106-116.

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41 ARYANNIS GAÏTIS (1923-1984)Two figures and birds signed ‘Gaitis’ (lower right) oil on canvas 38 x 55 cm.

£5,000 - 7,000€5,800 - 8,200

Painted c.1963-64. Literature Yiannis Gaitis Catalogue Raisonné, Angers 2003, no 663, p. 193 (illustrated).

42 ARTHANOS TSINGOS (1914-1965)a) Blue birds and red flowers signed ‘TSINGOS’ (upper left) oil on canvas laid on board 50 x 40 cm. b) Watermelon and summer fruits signed and dated ‘Tsingos 62’ (upper left) oil on canvas laid on board 30 x 40 cm.

(2)

£6,000 - 8,000€7,000 - 9,300

Provenance Private collection, Athens. Exhibited a) Athens, Athens Technological Institute Exhibition Hall, Exhibition of Works by Th. Tsingos (1914-1965), April 13-20, 1965, no. 55 (listed in the exhibition catalogue). a) Athens, National Gallery-Alexandros Soutzos Museum, Thanos Tsingos, July 1980, no. 153 (listed, p. 48, and illustrated in the exhibition catalogue). b) Athens, National Gallery - Alexandros Soutzos Museum, Thanos Tsingos, July 1980, no. 113 (listed in the exhibition catalogue, p. 43).

41

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42 (a)

42 (b)



43 ARYIANNIS TSAROUCHIS (1910-1989)The bouquet signed in Greek and dated ‘5-7-55’ (upper right) mixed media on canvas laid on board 22.5 x 36.5 cm.

£15,000 - 20,000€17,000 - 23,000


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44 ARALECOS FASSIANOS (BORN 1935)La belle chemise / Couple with golden apples signed in Greek (upper right); signed, dated and titled ‘La belle chemise’/ Fassianos 88 (on the reverse) oil and gold leaf on canvas 130 x 96.5 cm.

£25,000 - 30,000€29,000 - 35,000

Painted in 1989.

Provenance D. Logothetis collection, Athens. Private collection, Athens. Exhibited Thessaloniki, Macedonian Museum of Contemporary Art, A.Fassianos, 1953-1993 paintings, 1993.


45 ARALECOS FASSIANOS (BORN 1935)Jeune ephebe / Young man with golden apples signed ‘A.Fassianos’ (upper left); signed and titled ‘Jeune ephebe’ Fassianos (on the stretcher) oil and gold leaf on canvas 130 x 97 cm.

£25,000 - 30,000€29,000 - 35,000

Painted in 1987.

Provenance D. Logothetis collection, Athens. Private collection, Athens Exhibited Thessaloniki, Macedonian Museum of Contemporary Art, A.Fassianos, 1953-1993 paintings, 1993.



46THEOFILOS HADJIMICHAEL (1871-1934)Hungarian fight in traditional coffee shop signed in Greek and dated ‘1932’ (lower left); titled in Greek (lower center) natural pigments on canvas 74 x 103 cm.

£20,000 - 30,000€23,000 - 35,000

Provenance E. Teriade collection, Mytilene, Greece Private collection, Athens. Literature Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 191 (illustrated).

This picture was painted on the artist’s native island of Mytilene, to which Theofilos had returned in 1926-27 following a forty-year odyssey. There, his imaginary universe, which had crystallised on the walls of village houses and shops around Mt. Pelion, came back to life in a new and delightful manifestation. As noted by N. Matsas, “in Mytilene, Theofilos enjoyed a very creative and prolific period, during which he painted some of his best works.”1 In the same vein, G. Samourkas holds that “the artist’s Mytilene period, which lasted eight years until his passing in 1934, is his most mature; his designs became more confident, his colours warmer, his compositions more structured, his backdrops more embellished and his colour combinations more elegant.”2 Although the scene describes a quarrel between Magyars in traditional costumes, Theofilos’s roots go way back to the Byzantine world and the ancient Aegean, and it is this heritage that makes him paint in a distinctly Greek manner.3 As the painter O. Kanellis once said, wherever in the world one sees a painting by Theofilos, they will instantly say: “This is no doubt a Greek work of art.”4

1 N. Matsas, The Tale of Theofilos [in Greek], Estia publ., Athens 1978, p. 153. 2 G. Samourkas, Twelve Folk Painters [in Greek], Athens 1974, p. 90. 3 See A. Xydis, Proposals for the History of Modern Greek Art [in Greek], vol. 1, Athens 1976, p. 36-38. 4 O. Kanellis, “The Painter Theofilos” [in Greek] in The Painter Theofilos in Mytilene, exhibition catalogue, Mytilene 1962.


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47 ARYIANNIS TSAROUCHIS (1910-1989)Endymion gouache, pastel and charcoal on paper 151 x 119 cm.

£10,000 - 15,000€12,000 - 17,000



48 ARYIANNIS TSAROUCHIS (1910-1989)Portrait of a young man signed in Greek and dated ‘77’ (upper right) mixed media on paper 46 x 32.5 cm.

£7,000 - 10,000€8,200 - 12,000




49 ARPANAYIOTIS TETSIS (BORN 1925)Landscape with tree signed in Greek (lower right) oil on panel 49.5 x 69.5 cm.

£4,000 - 6,000€4,700 - 7,000


50 ARPANAGIOTIS TETSIS (1925-2016)Still life signed in Greek (lower left) oil on canvas 81 x 84.5 cm.

£5,000 - 7,000€5,800 - 8,200




51 ARYIANNIS SPYROPOULOS (1912-1990)Pellini E signed in Greek (lower right) signed, titled and dated ‘Jannis Spyropoulos “Pellini E” 1964’ (on the stretcher); inscribed with dedication from the artist and his wife (on the reverse); inscribed with the artist’s address (on the stretcher) oil and mixed media on canvas 54 x 66 cm.

£6,000 - 8,000€7,000 - 9,300

Painted in 1964. Provenance David Herbert, New York. Knoedler Gallery, New York. Andrade private collection, New York, 1998. Acquired from the above 2017, New York by the present owner.


52 ARTHEODOROS STAMOS (GREEK/AMERICAN, 1922-1997)On the tide signed and dated ‘ΣtΑΜΟS 1949’ (lower left) gouache and watercolour on cardboard 43 x 18.2 cm.

£3,000 - 5,000€3,500 - 5,800

Provenance Galerie Pudelko, Bonn. Private collection, Athens.



53 ARLUCAS SAMARAS (BORN 1936)Reconstruction # 86 sewn fabrics on canvas framed in plexiglass 183 x 206 cm (199 x 223 x 7 cm with frame and plexiglass).

£40,000 - 60,000€47,000 - 70,000

Executed in 1979.

Provenance The Pace Gallery, New York. Jeffrey Hoffeld & Co. Inc., New York. Graham Gund collection, Cambridge Massachusetts. D. Logothetis collection, Athens. Private collection, Athens. Stitched together with the craftsmanship of Kastoria’s traditional furriers and the sensitivity with which American pioneer women sewed their patchwork quilts, Reconstruction # 86 reflects in a way the dual roots of Greek-American Lucas Samaras, this leading cult figure of postwar avant-garde. The son of a furrier from Kastoria who had immigrated to the United States in the late 1930s, Samaras spent many of his teenage summers in his father’s New York City shop stitching small pieces of fur together. “The autobiographical aspect of the genre is deepened by this incorporation, like much of his work, of elements traditionally associated with craft, which Samaras has brought into the domain of fine art.”1 Interweaving bands of vibrantly patterned swatches of fabric, shimmering pieces of cloth and radiating pinstripes, polkadots and plaids zip across the surface, demonstrating a daring combination of traditional form and revolutionary thrust. Colliding planes, jarring colours and fractured space generate a wild energy, “reconstructing” an ultimately fascinating totality. With its slashing diagonals and sense of intense speed of execution, Reconstruction # 86 recalls the dynamism of action painting, while the quilt-like effect brings it closer to the pattern and decoration movement. As noted by art critic Kim Levin, “Samaras’ big opulent fabric works are almost impersonal, sleek and abstract, conforming to the large scale, rectangular format and flat picture plane of conventional modern

painting. All the motifs of his previous work reappear in the patterned cloth he stiches together into dazzling patchworks, as if he were piercing the whole fabric of his past art into a grandiose and comedic quilt. His identity is embedded in them. He has always worked by accumulation, by repetition, by insistence, and has always transformed tacky banal materials into glittering magical surfaces. And the tactile excitations of his past work are magnified in these sensual patchwork skins of cloth that flirt with Islamic latticing, oriental calligraphy or giant brushworks in an irrational amalgam of the romantic past. Subjected to repeated destructions and reconstructions—which is how they got their name—their making involves not only the usual violations of Samaras’s work but a process which resembles the ruthless alterations of action painting. Samaras’s Reconstructions must be seen as paintings, highly sophisticated and completely perverse. Big dazzling abstractions. They are also variegated, witty, improvisational hybrid surfaces that fuse random and disparate materials into a seamless expressive whole. They reconstruct not folk handicraft but modernist art.”2

1 T. McEvilley, “Intimate but Lethal Things: the Art of Lucas Samaras” in Lucas Samaras Objects and Subjects 1969-1986, exh. cat., Abbeville Press, New York 1988, p. 28. 2 K. Levin, preface to the Samaras, Reconstructions at the Pace Gallery exhibition catalogue, New York, 1979.

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54 ARCHRYSSA (VARDEA) (1933-2013)Untitled signed ‘Chryssa’ (lower right) oil on canvas and neon construction 164 x 124 x 17 cm.

£25,000 - 35,000€29,000 - 41,000

Executed c.1980.


55 ARCHRYSSA (VARDEA) (1933-2013)Untitled signed ‘Chryssa’ (upper right) oil on canvas and neon construction 124.5 x 165 x 18 cm.

£25,000 - 35,000€29,000 - 41,000

Executed c.1980.



56 ARALEXIS AKRITHAKIS (1939-1994) a) Two helicopters signed in Greek and dated ‘67’ (upper left) tempera and ink on paper 29.4 x 21 cm. b) Fun park signed and inscribed in Greek and dated ‘68’ (lower right) tempera and ink on paper 18.5 x 36.5 cm. (2)

£7,000 - 9,000€8,200 - 10,000

We are grateful to Chloe Akrithakis for the authentication of this work. Provenance Acquired directly from the artist by the present owner.

57 ARALEXIS AKRITHAKIS (1939-1994)Flame signed and dated ‘Akrithakis 70 Berlin’ (lower center) oil on canvas 80 x 61 cm.

£12,000 - 18,000€14,000 - 21,000

We are grateful to Chloe Akrithakis for the authentication of this work. Provenance Acquired directly from the artist by the present owner.

56 (b)

56 (a)

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57



58 ARPAVLOS (PAVLOS DIONYSSOPOULOS) (BORN 1930)Three trees / Trois Arbres papier d’ affiches on canvas framed in plexiglass 200 x 300 x 7.5 cm.

£30,000 - 40,000€35,000 - 47,000

Executed in 1987. Provenance Acquired directly from the artist by the present owner. Exhibited Cannes, La Malmaison Espace Miramar, Pavlos, Papiers en Fête 1962-2003, 18/7-17/10/2004 (illustrated in the exhibition catalogue, p. 100) Syros, Cultural center on Municipality of Ermoupolis, curated by K.Koskina, Pavlos Retrospective 1962-2006, 28 July – 29 August 2007 (illustrated in the exhibition catalogue p.60-61) Thessaloniki, Macedonian Museum of Modern Art – HELEXPO, Pavlos Dionyssopoulos, Retrospective, curated by K.Koskina, 29 May – 17 August 1997 (illustrated in the exhibition catalogue, p.187) Athens, School of Fine Arts, The Factory, Pavlos Dionyssopoulos, Retrospective, curated by K.Koskina, October 22 – December 12, 1997. Literature Maud Benayoun, Pavlos, Linda et Guy editions, Belgium 2008, p. 416-417 (illustrated). Pavlos Retrospective, curated by K. Koskina, Adam editions-The J.F. Costopoulos Foundation, p. 187 (illustrated).

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59 ARYANNIS GAÏTIS (1923-1984)Blonde lady with figures signed and dated ‘Gaitis 74’ (lower right) oil on canvas 61.5 x 91.5 cm.

£7,000 - 10,000€8,200 - 12,000

Provenance Circle Gallery, Chicago. Private collection, Greece.


60 ARYANNIS GAÏTIS (1923-1984)Human column signed ‘Gaitis’ (lower right) oil on canvas 73 x 60 cm.

£7,000 - 9,000€8,200 - 10,000

Provenance Acquire directly from the artist by the present owner.



61 ARDIMITRIS MYTARAS (1934-2017)Composition in Ionic style signed in Greek and dated ‘72’ (lower right) oil on canvas 130 x 170.5 cm.

£20,000 - 30,000€23,000 - 35,000

Provenance Acquired directly from the artist by the present owner.

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88 | BONHAMS

62 ARPANAYIOTIS VASSILAKIS TAKIS (BORN 1925)Flower (with Cycladic figure) signed and dated ‘Takis 78’ (on the base) painted iron and bronze 153 x 20 cm.

£20,000 - 30,000€23,000 - 35,000

Executed in 1978. Registration number in the Takis Archives F.079. The work is accompanied by a certificate of authenticity from the artist. Provenance Acquired directly from the artist by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at

the back of the catalogue.

(detail)


63 ARCOSTAS COULENTIANOS (1918-1995)Nouvelle Génération VII / Bas relief No 2 signed and dated ‘KK 92-93’ (lower left) bolted painted wood 160 x 138 x 21 cm.

£12,000 - 18,000€14,000 - 21,000

Provenance Ileana Tounda Gallery, Athens. Private collection, Athens. Literature E. Mykoniatis, Greek Art - Modern Greek Sculpture, Ekdotike Athenon editions, Athens 1996, p. 213 (discussed), p. 136 (illustrated). Costas Coulentianos, Exhibition catalogue, Couvent des Cordeliers, Paris 1997, no.122, p. 104 (illustrated).

Coulentianos, Exhibition catalogue, Medousa gallery, Athens 2008, p.9 (illustrated). Coulentianos, The Last of the Modern Acrobats, Benaki Museum, Athens 2012, no. 213, p. 214 (illustrated). Constructed of successive flat surfaces in the style of Picasso’s synthetic cubist collages, this amazing relief by one of the most gifted and vigorous sculptors of postwar European abstraction, owes its seductive appeal to the fascinating interplay of angular forms and intense colours. Discussing this piece in his book on Modern Greek Sculpture, Professor I. Mykoniatis noted that “its solid geometric shapes are joined by strong metal bolts that allow the various parts to retain their autonomy without jeopardizing their relations of interdependence.”1 1. I. Mykoniatis, Greek Art - Modern Greek Sculpture, Ekdotike Athenon editions, Athens 1996, p. 213.



64 ARCHRISTOS BOKOROS (BORN 1956)Unread forest with artist’s stamp (on the reverse) oil on wood and textile 200 x 20 x 5 cm. (height variable)

£7,000 - 10,000€8,200 - 12,000

Provenance Private collection, Athens. Exhibited Athens, Zoumboulakis Galleries, 2004.

(detail)


65 ARYIANNIS TSAROUCHIS (1910-1989)Neoclassical façade signed in Greek and dated ‘18-3-70’ (lower right) mixed media on panel 27 x 34.5 cm.

£6,000 - 8,000€7,000 - 9,300




66 ARPANAGIOTIS TETSIS (1925-2016)Hydra signed in Greek (lower right) watercolour on paper 75 x 55 cm.

£2,000 - 3,000€2,300 - 3,500



67 ARGEORGIOS GOUNAROPOULOS (1889-1977)Nymph in a dreamy landscape signed ‘G.Gounaro’ (lower left) oil on panel 64 x 54 cm.

£4,000 - 6,000€4,700 - 7,000

Provenance Greek Sale, Christie's, Athens, April 1995, lot 47.Private collection, Greece.



68 ARYIANNIS SPYROPOULOS (1912-1990)A myth signed in Greek (lower right); signed, titled and dated ‘Jannis Spryropoulos A myth – 1961 Athens’ (on the stretcher) oil on canvas 97 x 130 cm.

£15,000 - 20,000€17,000 - 23,000

Provenance P. Jonhson collection, U.S.A. Private collection, Athens. Exhibited New York, World House Galleries, Jannis Spyropoulos, Paintings 1960-1961, April 4-29, 1961, no. 26 (listed and illustrated in the exhibition catalogue).

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69 ARTHANOS TSINGOS (1914-1965)Abstract marine signed and dated ‘TSINGOS / 60’ (lower right) oil on canvas 130 x 97 cm.

£8,000 - 12,000€9,300 - 14,000


70 ARNIKOS HADJIKYRIAKOS-GHIKA (1906-1994)Trees with snow signed and dated ‘Ghika 82’ (upper right); signed, dated and inscribed ‘GHIKA.Jan 1982/Trees with snow’ (on the reverse) mixed media on card 48 x 33.5 cm.

£4,000 - 6,000€4,700 - 7,000



71 ARPAVLOS (PAVLOS DIONYSSOPOULOS) (BORN 1930)Champagne for two signed and dated ‘Pavlos/2006’ (lower right); signed and dated ‘Pavlos/2006/PAVLOS’ (on the reverse) paper construction on wood framed in plexiglass box 43 x 27 x 21.5 cm.

£4,000 - 6,000€4,700 - 7,000



72 ARCOSTAS GRAMMATOPOULOS (1916-2003)Oranges signed and dated ‘Grammatopoulos 31-8-56’ (upper right) oil on canvas 59 x 72.5 cm.

£4,000 - 6,000€4,700 - 7,000

Painted in 1956. Literature K. Grammatopoulos, Painting – Engraving, editions M. Toumbis S.A., Athens 1991, p. 66 (illustrated). Provenance D. Pieridis collection. Private collection, Athens.



73 ARALECOS CONDOPOULOS (1905-1975)Morning dew on arid land signed in Greek and dated ‘1973’ (lower right); signed, dated and titled (on the reverse) oil on canvas 110 x 100 cm.

£12,000 - 18,000€14,000 - 21,000

Provenance The Greek Sale, Bonhams, London, 10 November 2008, lot 82. Acquired from the above by the present owner. Exhibited Athens, National Gallery and Alexander Soutzos Museum, Alecos Condopoulos, March 1976, no. 124. Lamia, A. Condopoulos Retrospective, Municipal Gallery, 1996, p. 54 (referred in the exhibition catalogue). Literature A.Condopoulos, Athens 1979, no 323 (illustrated).

the wealth and prowess of Condopoulos’ expressive language.”2 Fragmentary references to both the real and the imaginary in daring combinations of blazing colour conspire to create a challenging work of throbbing energy, suggestive symbolism and subtle social commentary. In its deliberately untidy contours, exuberant but effacing brushstrokes, seemingly random spillings and drippings and intense paint smears this bold picture bridges the gap between action painting and pop art, as manifested mainly in the work of Robert Rauschenberg. 1. S. Lydakis, ‘Biographical Notes’ [in Greek] in Alekos Kontopoulos (exhibition catalogue), National Gallery and Alexandros Soutzos Museum, Athens 1976, p. 35. 2. C. Christou, ‘Alecos Condopoulos’ [in Greek] in Alecos Condopoulos, Retrospective, exhibition catalogue, ‘A. Condopoulos’ Municipal Gallery of Lamia, Lamia 1996, p. 54.

Dreamy images of poetic metaphor freely juxtaposed in unexpected combinations occupy an enigmatic landscape, undermining narrative cohesion and revealing the mysterious pathways of the mind. “Between 1960 and 1970, Condopoulos’ work ventured beyond abstraction, reflecting the artist’s inner need to engage in a discourse with his time and fellow men rather than be solely preoccupied with probing into his own psyche.”1 Organic forms collide with undecipherable shapes, conveying a tense atmosphere of heightened activity and alluding to the multiplicity of perceptions, ideas and experiences that largely define the modern human condition. “Since 1970 Condopoulos became increasingly involved with figurative types combined with abstract elements, fragmented forms and an overall parcelling out of the pictorial surface. Calligraphic motifs coupled with geometric designs of expressionistic colour and a sense of ambiguous space became more prominent. Even a handful of works from his 1970-1974 period, such as his most characteristic Morning dew on arid land painted in 1973, would suffice to convey

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74 ARPARIS PREKAS (1926-1999)The red tanker signed in Greek (lower right) oil on canvas 55 x 70 cm.

£6,000 - 8,000€7,000 - 9,300


75 ARSPYROS VASSILIOU (1902-1984)Eretria signed in Greek and dated ‘82’ (lower left) acrylic and gold leaf on canvas 60 x 90 cm.

£6,000 - 8,000€7,000 - 9,300



76 ARALECOS FASSIANOS (BORN 1935)Reclining blue figure signed in Greek (upper middle) oil on canvas 82 x 155 cm.

£20,000 - 30,000€23,000 - 35,000



106 | BONHAMS

77


77 ARALECOS CONDOPOULOS (1905-1975)A collection of 65 (sixty five) drawings, depicting various scenes and landscapes from Epirus, Greece. all signed and inscribed in Greek and dated ‘1958’ ink on paper 29,5 x 21 cm (each). (65)

£3,000 - 5,000€3,500 - 5,800

Provenance The Greek Sale, Bonhams, London, 24 May 2005, lot 74. Acquired from the above by the present owner.

78 ARCOSTAS MALAMOS (1913-2007)Vitrine signed in Greek (lower right) oil on canvas 140 x 69.5 cm.

£3,000 - 5,000€3,500 - 5,800


78



79 ARGEORGIOS MAVROIDIS (1912-2003)Reclining nude signed in Greek and dated ‘88’ (lower right) oil on canvas 79.5 x 99 cm.

£8,000 - 12,000€9,300 - 14,000


80 ARPAVLOS SAMIOS (BORN 1948)Nude leaning on the door signed in Greek and dated ‘77’ (lower left) oil on panel 57 x 27 cm.

£2,000 - 3,000€2,300 - 3,500

Provenance Tassos Zoumboulakis gallery, Athens, 1978. Private collection, Athens.



81 ARALECOS FASSIANOS (BORN 1935)Blue man with cigar signed and dated ‘A. Fassianos 68’ (upper left) gouache on paper laid on cardboard 55 x 47 cm.

£2,000 - 3,000€2,300 - 3,500



82 ARALECOS FASSIANOS (BORN 1935)Spartan lunch signed in Greek (middle left) gouache on paper 80 x 99 cm.

£5,000 - 7,000€5,800 - 8,200



83 ARPAVLOS SAMIOS (BORN 1948)Untitled signed and dated ‘Samios 86-87’ (lower left) oil on canvas 205 x 310 cm.

£12,000 - 18,000€14,000 - 21,000





84 ARKYRIAKOS KATZOURAKIS (BORN 1944)Composition signed in Greek and dated ‘89-90’ (lower right) oil on canvas 160 x 180 cm.

£4,000 - 6,000€4,700 - 7,000 Provenance Private collection, Athens.


85 ARCHRISTOS CARAS (BORN 1930)Venus before full moon signed in Greek and dated ‘1996’ (lower left) oil on canvas 152.5 x 235 cm.

£8,000 - 12,000€9,300 - 14,000



86 ARYIANNIS PSYCHOPEDIS (BORN 1945)Window View signed ‘J.Psychopedis’ (lower right) mixed media on paper 100 x 80 cm.

£4,000 - 6,000€4,700 - 7,000


87 ARPAVLOS SAMIOS (BORN 1948)The shoemakers signed and dated ‘Samios 94’ (lower right) oil on leather piece mounted on panel 100 x 88 cm (110 x 97 cm panel).

£3,000 - 5,000€3,500 - 5,800




88 ARYANNIS GAÏTIS (1923-1984)Figures in blue background signed ‘Gaitis’ (lower right) oil on canvas 63.5 x 80 cm.

£8,000 - 12,000€9,300 - 14,000

Provenance Circle Gallery, Chicago. Private collection, Greece.

Index

AAkrithakis, Alexis 56, 57Altamoura, Jean 28

BBokoros, Christos 64Bouzianis, Georgios 5

CCaras, Christos 85Chatzis, Vasilios 8, 15, 16Chryssa (Vardea) 54, 55Condopoulos, Alecos 73, 77Coulentianos, Costas 22, 63

EEconomou, Michalis 17, 40Engonopoulos, Nikos 10, 21European School 6

FFassianos, Alecos 38, 44, 45, 76, 81, 82

GGaïtis, Yannis 41, 59, 60, 88Gounaropoulos, Giorgios (Gounaro) 67Grammatopoulos, Costas 72

HHaag, Carl 7Hadjikyriakos-Ghika, Nikos 39, 70Hadjimichael, Theofilos 11, 29, 46

JJakobides, Georgios 4

KKatzourakis, Kyriakos 84Kontoglou, Fotis 9

MMalamos, Costas 78Mavroidis, Georgios 79Mela, Nata (Natalia) 23Migadis, Yiannis 37Moralis, Yiannis 32Mytaras, Dimitris 61

NNikolaou, Nikos 36

PPapaloukas, Spyros 12, 13Pavlos (Pavlos Dionyssopoulos) 58, 71Prekas, Paris 33, 34, 74Psychopedis, Yiannis 86

RRengos, Polykleitos 26

SSamaras, Lucas 53Samios, Pavlos 80, 83, 87Spyropoulos, Yiannis 27, 51, 68Stamos, Theodoros 52

TTakis, Panayiotis Vassilakis 62Tetsis, Panayiotis 49, 50, 66Tsarouchis, Yiannis 1, 2, 3, 18, 24, 35, 43, 47, 48, 65Tsingos, Thanos 31, 42, 69

VVassiliou, Spyros 19, 20, 30, 75Volanakis, Constantinos 14, 25

NTB/MAIN/3.2019

This notice is addressed by Bonhams to any person who may be interested in a Lot, including Bidders and potential Bidders (including any eventual Buyer of the Lot). For ease of reference we refer to such persons as “Bidders” or “you”. Our List of Definitions and Glossary is incorporated into this Notice to Bidders. It is at Appendix 3 at the back of the Catalogue. Where words and phrases are used in this notice which are in the List of Definitions, they are printed in italics.

IMPORTANT: Additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well. Announcements affecting the Sale may also be given out orally before and during the Sale without prior written notice. You should be alert to the possibility of changes and ask in advance of bidding if there have been any.

1. OUR ROLE

In its role as Auctioneer of Lots, Bonhams acts solely for and in the interests of the Seller. Bonhams’ job is to sell the Lot at the highest price obtainable at the Sale to a Bidder. Bonhams does not act for Buyers or Bidders in this role and does not give advice to Buyers or Bidders. When it or its staff make statements about a Lot or, if Bonhams provides a Condition Report on a Lot it is doing that on behalf of the Seller of the Lot. Bidders and Buyers who are themselves not expert in the Lots are strongly advised to seek and obtain independent advice on the Lots and their value before bidding for them. The Seller has authorised Bonhams to sell the Lot as its agent on its behalf and, save where we expressly make it clear to the contrary, Bonhams acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller’s behalf and, unless Bonhams sells a Lot as principal, not on our behalf and any Contract for Sale is between the Buyer and the Seller and not with us. If Bonhams sells a Lot as principal this will either be stated in the Catalogue or an announcement to that effect will be made by the Auctioneer, or it will be stated in a notice at the Sale or an insert in the Catalogue.

Bonhams does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bonhams does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer’s Agreement, which you will find at Appendix 2 at the back of the Catalogue. This will govern Bonhams’ relationship with the Buyer.

2. LOTS

Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the colour(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price (including the Hammer Price). It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. In particular, parts may have been replaced or renewed and Lots may not be authentic or of satisfactory quality; the inside of a Lot may not be visible and may not be original or may be damaged, as for example where it is covered by upholstery or material. Given the age of many Lots they may have been damaged and/or repaired and you should not assume that a Lot is in good condition. Electronic or mechanical parts may not operate or may not comply with current statutory requirements. You should not assume that electrical items designed to operate on mains electricity will be suitable for connection to the mains electricity supply and you should obtain a report from a qualified electrician on their status before doing so. Such items which are unsuitable for connection

are sold as items of interest for display purposes only. If you yourself do not have expertise regarding a Lot, you should consult someone who does to advise you. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests. Please ask our staff for details.

Any person who damages a Lot will be held liable for the loss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES

Contractual Description of a Lot The Catalogue contains an Entry about each Lot. Each Lot is sold by its respective Seller to the Buyer of the Lot as corresponding only with that part of the Entry which is printed in bold letters and (except for the colour, which may be inaccurately reproduced) with any photograph of the Lot in the Catalogue. The remainder of the Entry, which is not printed in bold letters, represents Bonhams’ opinion (given on behalf of the Seller) about the Lot only and is not part of the Contractual Description in accordance with which the Lot is sold by the Seller.

Estimates In most cases, an Estimate is printed beside the Entry. Estimates are only an expression of Bonhams’ opinion made on behalf of the Seller of the range where Bonhams thinks the Hammer Price for the Lot is likely to fall; it is not an Estimate of value. It does not take into account any VAT or Buyer’s Premium payable or any other fees payable by the Buyer, which are detailed in paragraph 7 of the Notice to Bidders, below. Lots can in fact sell for Hammer Prices below and above the Estimate. Any Estimate should not be relied on as an indication of the actual selling price or value of a Lot. Estimates are in the currency of the Sale.

Condition Reports In respect of most Lots, you may ask for a Condition Report on its physical condition from Bonhams. If you do so, this will be provided by Bonhams on behalf of the Seller free of charge. Bonhams is not entering into a contract with you in respect of the Condition Report and accordingly does not assume responsibility to you in respect of it. Nor does the Seller owe or agree to owe you as a Bidder any obligation or duty in respect of this free report about a Lot, which is available for your own inspection or for inspection by an expert instructed by you. However, any written Description of the physical condition of the Lot contained in a Condition Report will form part of the Contractual Description of the Lot under which it is sold to any Buyer.

The Seller’s responsibility to you The Seller does not make or agree to make any representation of fact or contractual promise, Guarantee or warranty and undertakes no obligation or duty, whether in contract or in tort (other than to the eventual Buyer as set out above), in respect of the accuracy or completeness of any statement or representation made by him or on his behalf, which is in any way descriptive of any Lot or as to the anticipated or likely selling price of any Lot. Other than as set out above, no statement or representation in any way descriptive of a Lot or any Estimate is incorporated into any Contract for Sale between a Seller and a Buyer.

Bonhams’ responsibility to you You have the opportunity of examining the Lot if you want to and the Contract for Sale for a Lot is with the Seller and not with Bonhams; Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot as principal).

Bonhams undertakes no obligation to you to examine, investigate or carry out any tests, either in sufficient depth or at all, on each Lot to establish the accuracy or otherwise of any Descriptions or opinions given by Bonhams, or by any person on Bonhams’ behalf, whether in the Catalogue or elsewhere.

You should not suppose that such examinations, investigations or tests have occurred.

Bonhams does not make or agree to make any representation of fact, and undertakes no obligation or duty (whether in contract or tort) in respect of the accuracy or completeness of any statement or representation made by Bonhams or on Bonhams’ behalf which is in any way descriptive of any Lot

or as to the anticipated or likely selling price of any Lot. No statement or representation by Bonhams or on its behalf in any way descriptive of any Lot or any Estimate is incorporated into our Buyer’s Agreement.

Alterations Descriptions and Estimates may be amended at Bonhams’ discretion from time to time by notice given orally or in writing before or during a Sale.

THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT EXAMINED ON YOUR BEHALF BEFORE THE SALE.

4. CONDUCT OF THE SALE

Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue. You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again. Auction speeds can exceed 100 Lots to the hour and bidding increments are generally about 10%. However these do vary from Sale to Sale and from Auctioneer to Auctioneer. Please check with the department organising the Sale for advice on this. Where a Reserve has been applied to a Lot, the Auctioneer may, in his absolute discretion, place bids (up to an amount not equalling or exceeding such Reserve) on behalf of the Seller. We are not responsible to you in respect of the presence or absence of any Reserve in respect of any Lot. If there is a Reserve it will normally be no higher than the lower figure for any Estimate in the Catalogue, assuming that the currency of the Reserve has not fluctuated adversely against the currency of the Estimate. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be settled by the Auctioneer in his absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale and may record telephone calls for reasons of security and to assist in solving any disputes which may arise in relation to bids made at the Sale. At some Sales, for example, jewellery Sales, we may use screens on which images of the Lots will be projected. This service is provided to assist viewing at the Sale. The image on the screen should be treated as an indication only of the current Lot. It should be noted that all bids tendered will relate to the actual Lot number announced by the Auctioneer. We do not accept any responsibility for any errors which may occur in the use of the screen.

5. BIDDING

We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you must supply if your bids are to be accepted by us. Please bring your passport, driving licence (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form.

NOTICE TO BIDDERS

NTB/MAIN/3.2019

This notice is addressed by Bonhams to any person who may be interested in a Lot, including Bidders and potential Bidders (including any eventual Buyer of the Lot). For ease of reference we refer to such persons as “Bidders” or “you”. Our List of Definitions and Glossary is incorporated into this Notice to Bidders. It is at Appendix 3 at the back of the Catalogue. Where words and phrases are used in this notice which are in the List of Definitions, they are printed in italics.

IMPORTANT: Additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well. Announcements affecting the Sale may also be given out orally before and during the Sale without prior written notice. You should be alert to the possibility of changes and ask in advance of bidding if there have been any.

1. OUR ROLE

In its role as Auctioneer of Lots, Bonhams acts solely for and in the interests of the Seller. Bonhams’ job is to sell the Lot at the highest price obtainable at the Sale to a Bidder. Bonhams does not act for Buyers or Bidders in this role and does not give advice to Buyers or Bidders. When it or its staff make statements about a Lot or, if Bonhams provides a Condition Report on a Lot it is doing that on behalf of the Seller of the Lot. Bidders and Buyers who are themselves not expert in the Lots are strongly advised to seek and obtain independent advice on the Lots and their value before bidding for them. The Seller has authorised Bonhams to sell the Lot as its agent on its behalf and, save where we expressly make it clear to the contrary, Bonhams acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller’s behalf and, unless Bonhams sells a Lot as principal, not on our behalf and any Contract for Sale is between the Buyer and the Seller and not with us. If Bonhams sells a Lot as principal this will either be stated in the Catalogue or an announcement to that effect will be made by the Auctioneer, or it will be stated in a notice at the Sale or an insert in the Catalogue.

Bonhams does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bonhams does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer’s Agreement, which you will find at Appendix 2 at the back of the Catalogue. This will govern Bonhams’ relationship with the Buyer.

2. LOTS

Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the colour(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price (including the Hammer Price). It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. In particular, parts may have been replaced or renewed and Lots may not be authentic or of satisfactory quality; the inside of a Lot may not be visible and may not be original or may be damaged, as for example where it is covered by upholstery or material. Given the age of many Lots they may have been damaged and/or repaired and you should not assume that a Lot is in good condition. Electronic or mechanical parts may not operate or may not comply with current statutory requirements. You should not assume that electrical items designed to operate on mains electricity will be suitable for connection to the mains electricity supply and you should obtain a report from a qualified electrician on their status before doing so. Such items which are unsuitable for connection

are sold as items of interest for display purposes only. If you yourself do not have expertise regarding a Lot, you should consult someone who does to advise you. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests. Please ask our staff for details.

Any person who damages a Lot will be held liable for the loss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES

Contractual Description of a Lot The Catalogue contains an Entry about each Lot. Each Lot is sold by its respective Seller to the Buyer of the Lot as corresponding only with that part of the Entry which is printed in bold letters and (except for the colour, which may be inaccurately reproduced) with any photograph of the Lot in the Catalogue. The remainder of the Entry, which is not printed in bold letters, represents Bonhams’ opinion (given on behalf of the Seller) about the Lot only and is not part of the Contractual Description in accordance with which the Lot is sold by the Seller.

Estimates In most cases, an Estimate is printed beside the Entry. Estimates are only an expression of Bonhams’ opinion made on behalf of the Seller of the range where Bonhams thinks the Hammer Price for the Lot is likely to fall; it is not an Estimate of value. It does not take into account any VAT or Buyer’s Premium payable or any other fees payable by the Buyer, which are detailed in paragraph 7 of the Notice to Bidders, below. Lots can in fact sell for Hammer Prices below and above the Estimate. Any Estimate should not be relied on as an indication of the actual selling price or value of a Lot. Estimates are in the currency of the Sale.

Condition Reports In respect of most Lots, you may ask for a Condition Report on its physical condition from Bonhams. If you do so, this will be provided by Bonhams on behalf of the Seller free of charge. Bonhams is not entering into a contract with you in respect of the Condition Report and accordingly does not assume responsibility to you in respect of it. Nor does the Seller owe or agree to owe you as a Bidder any obligation or duty in respect of this free report about a Lot, which is available for your own inspection or for inspection by an expert instructed by you. However, any written Description of the physical condition of the Lot contained in a Condition Report will form part of the Contractual Description of the Lot under which it is sold to any Buyer.

The Seller’s responsibility to you The Seller does not make or agree to make any representation of fact or contractual promise, Guarantee or warranty and undertakes no obligation or duty, whether in contract or in tort (other than to the eventual Buyer as set out above), in respect of the accuracy or completeness of any statement or representation made by him or on his behalf, which is in any way descriptive of any Lot or as to the anticipated or likely selling price of any Lot. Other than as set out above, no statement or representation in any way descriptive of a Lot or any Estimate is incorporated into any Contract for Sale between a Seller and a Buyer.

Bonhams’ responsibility to you You have the opportunity of examining the Lot if you want to and the Contract for Sale for a Lot is with the Seller and not with Bonhams; Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot as principal).

Bonhams undertakes no obligation to you to examine, investigate or carry out any tests, either in sufficient depth or at all, on each Lot to establish the accuracy or otherwise of any Descriptions or opinions given by Bonhams, or by any person on Bonhams’ behalf, whether in the Catalogue or elsewhere.

You should not suppose that such examinations, investigations or tests have occurred.

Bonhams does not make or agree to make any representation of fact, and undertakes no obligation or duty (whether in contract or tort) in respect of the accuracy or completeness of any statement or representation made by Bonhams or on Bonhams’ behalf which is in any way descriptive of any Lot

or as to the anticipated or likely selling price of any Lot. No statement or representation by Bonhams or on its behalf in any way descriptive of any Lot or any Estimate is incorporated into our Buyer’s Agreement.

Alterations Descriptions and Estimates may be amended at Bonhams’ discretion from time to time by notice given orally or in writing before or during a Sale.

THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT EXAMINED ON YOUR BEHALF BEFORE THE SALE.

4. CONDUCT OF THE SALE

Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue. You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again. Auction speeds can exceed 100 Lots to the hour and bidding increments are generally about 10%. However these do vary from Sale to Sale and from Auctioneer to Auctioneer. Please check with the department organising the Sale for advice on this. Where a Reserve has been applied to a Lot, the Auctioneer may, in his absolute discretion, place bids (up to an amount not equalling or exceeding such Reserve) on behalf of the Seller. We are not responsible to you in respect of the presence or absence of any Reserve in respect of any Lot. If there is a Reserve it will normally be no higher than the lower figure for any Estimate in the Catalogue, assuming that the currency of the Reserve has not fluctuated adversely against the currency of the Estimate. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be settled by the Auctioneer in his absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale and may record telephone calls for reasons of security and to assist in solving any disputes which may arise in relation to bids made at the Sale. At some Sales, for example, jewellery Sales, we may use screens on which images of the Lots will be projected. This service is provided to assist viewing at the Sale. The image on the screen should be treated as an indication only of the current Lot. It should be noted that all bids tendered will relate to the actual Lot number announced by the Auctioneer. We do not accept any responsibility for any errors which may occur in the use of the screen.

5. BIDDING

We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you must supply if your bids are to be accepted by us. Please bring your passport, driving licence (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form.

NOTICE TO BIDDERS

NTB/MAIN/3.2019

Bidding in person You should come to our Bidder registration desk at the Sale venue and fill out a Bidder Registration Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. You will be issued with a large card (a “paddle”) with a printed number on it. This will be attributed to you for the purposes of the Sale. Should you be a successful Bidder you will need to ensure that your number can be clearly seen by the Auctioneer and that it is your number which is identified as the Buyer’s. You should not let anyone else use your paddle as all Lots will be invoiced to the name and address given on your Bidder Registration Form. Once an invoice is issued it will not be changed. If there is any doubt as to the Hammer Price of, or whether you are the successful Bidder of, a particular Lot, you must draw this to the attention of the Auctioneer before the next Lot is offered for Sale. At the end of the Sale, or when you have finished bidding please return your paddle to the Bidder registration desk.

Bidding by telephone If you wish to bid at the Sale by telephone, please complete a Telephone Bidding Form, which is available from our offices or in the Catalogue. Please then return it to the office responsible for the Sale at least 24 hours in advance of the Sale. It is your responsibility to check with our Bids Office that your bid has been received. Telephone calls will be recorded. The telephone bidding facility is a discretionary service and may not be available in relation to all Lots. We will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Please contact us for further details.

Bidding by post or fax Absentee Bidding Forms can be found in the back of this Catalogue and should be completed and sent to the office responsible for the Sale. It is in your interests to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received takes preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please check your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you. It is your responsibility to check with our Bids Office that your bid has been received. This additional service is complimentary and is confidential. Such bids are made at your own risk and we cannot accept liability for our failure to receive and/or place any such bids. All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot. Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments. New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed.

Bidding via the internet Please visit our Website at http://www.bonhams.com for details of how to bid via the internet.

Bidding through an agent Bids will be accepted as placed on behalf of the person named as the principal on the Bidding Form although we may refuse to accept bids from an agent on behalf of a principal and will require written confirmation from the principal confirming the agent’s authority to bid. Nevertheless, as the Bidding Form explains, any person placing a bid as agent on behalf of another (whether or not he has disclosed that fact or the identity of his principal) will be jointly and severally liable with the principal to the Seller and to Bonhams under any contract resulting from the acceptance of a bid. Subject to the above, please let us know if you are acting on behalf of another person when bidding for Lots at the Sale.

Equally, please let us know if you intend to nominate another person to bid on your behalf at the Sale unless this is to be carried out by us pursuant to a Telephone or Absentee Bidding Form that you have completed. If we do not approve the agency arrangements in writing before the Sale, we are entitled to assume that the person bidding at the Sale is bidding on his own behalf. Accordingly, the person bidding at the Sale will be the Buyer and will be liable to pay the Hammer Price and

Buyer’s Premium and associated charges. If we approve the identity of your client in advance, we will be in a position to address the invoice to your principal rather than you. We will require proof of the agent’s client’s identity and residence in advance of any bids made by the agent on his behalf. Please refer to our Conditions of Business and contact our Customer Services Department for further details.

6. CONTRACTS BETWEEN THE BUYER AND SELLER AND THE BUYER AND BONHAMS

On the Lot being knocked down to the Buyer, a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the back of the Catalogue. You will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. This is our Buyer’s Agreement, the terms of which are set out in Appendix 2 at the back of the Catalogue. Please read the terms of the Contract for Sale and our Buyer’s Agreement contained in the Catalogue in case you are the successful Bidder. We may change the terms of either or both of these agreements in advance of their being entered into, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale. You should be alert to this possibility of changes and ask if there have been any.

7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE BY THE BUYER

Under the Buyer’s Agreement, a premium (the Buyer’s Premium) is payable to us by the Buyer in accordance with the terms of the Buyer’s Agreement and at rates set out below, calculated by reference to the Hammer Price and payable in addition to it. For this Sale the following rates of Buyer’s Premium will be payable by Buyers on each Lot purchased: 27.5% up to £2,500 of the Hammer Price 25% of the Hammer Price above £2,500 and up to £300,000 20% of the Hammer Price above £300,000 and up to £3,000,000 13.9% of the Hammer Price above £3,000,000

Storage and handling charges may also be payable by the Buyer as detailed on the specific Sale Information page at the front of the catalogue.

The Buyer’s Premium and all other charges payable to us by the Buyer are subject to VAT at the prevailing rate, currently 20%.

VAT may also be payable on the Hammer Price of the Lot, where indicated by a symbol beside the Lot number. See paragraph 8 below for details.

On certain Lots, which will be marked “AR” in the Catalogue and which are sold for a Hammer Price of €1,000 or greater (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale), the Additional Premium will be payable to us by the Buyer to cover our Expenses relating to the payment of royalties under the Artists Resale Right Regulations 2006. The Additional Premium will be a percentage of the amount of the Hammer Price calculated in accordance with the table below, and shall not exceed €12,500 (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).

Hammer Price Percentage amount From €0 to €50,000 4%From €50,000.01 to €200,000 3%From €200,000.01 to €350,000 1%From €350,000.01 to €500,000 0.5%Exceeding €500,000 0.25%

8. VAT

The prevailing rate of VAT at the time of going to press is 20%, but this is subject to government change and the rate payable will be the rate in force on the date of the Sale.

The following symbols, shown beside the Lot number, are used to denote that VAT is due on the Hammer Price and Buyer’s Premium:† VAT at the prevailing rate on Hammer Price and Buyer’s

PremiumΩ VAT on imported items at the prevailing rate on Hammer

Price and Buyer’s Premium

* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer’s Premium

G Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer’s Premium

• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer’s Premium

a Buyers from within the EU: VAT is payable at the prevailing rate on just the Buyer’s Premium (NOT the Hammer Price). Buyers from outside the EU: VAT is payable at the prevailing rate on both Hammer Price and Buyer’s Premium. If a Buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Bonhams immediately.

In all other instances no VAT will be charged on the Hammer Price, but VAT at the prevailing rate will be added to Buyer’s Premium which will be invoiced on a VAT inclusive basis.

9. PAYMENT

It is of critical importance that you ensure that you have readily available funds to pay the Purchase Price and the Buyer’s Premium (plus VAT and any other charges and Expenses to us)in full before making a bid for the Lot. If you are a successful Bidder, payment will be due to us by 4.30 pm on the second working day after the Sale so that all sums are cleared by the eighth working day after the Sale. Payments made by anyone other than the registered Buyer will not be accepted. Bonhams reserves the right to vary the terms of payment at any time.

Bonhams’ preferred payment method is by bank transfer. You may electronically transfer funds to our Trust Account. If you do so, please quote your paddle number and invoice number as the reference. Our Trust Account details are as follows: Bank: National Westminster Bank Plc Address: PO Box 4RY 250 Regent Street London W1A 4RY Account Name: Bonhams 1793 Limited Trust Account Account Number: 25563009 Sort Code: 56-00-27 IBAN Number: GB 33 NWBK 560027 25563009 If paying by bank transfer, the amount received after the deduction of any bank fees and/or conversion of the currency of payment to pounds sterling must not be less than the sterling amount payable, as set out on the invoice. Payment may also be made by one of the following methods: Sterling personal cheque drawn on a UK branch of a bank or building society: all cheques must be cleared before you can collect your purchases and should be made payable to Bonhams 1793 Limited. Cash: you may pay for Lots purchased by you at this Sale with notes or coins in the currency in which the Sale is conducted (but not any other currency) provided that the total amount payable by you in respect of all Lots purchased by you at the Sale does not exceed £3,000, or the equivalent in the currency in which the Sale is conducted, at the time when payment is made. If the amount payable by you for Lots exceeds that sum, the balance must be paid otherwise than in coins or notes; this limit applies to both payment at our premises and direct deposit into our bank account.

Debit cards (including China Union Pay (CUP) cards and debit cards issued by Visa and MasterCard only). There is no limit on payment value if payment is made in person using Chip & Pin verification. Payment by telephone may also be accepted up to £5,000, subject to appropriate verification procedures, although this facility is not available for first time buyers. If the amount payable by you for Lots exceeds that sum, the balance must be paid by other means.

Credit cards (including China Union Pay (CUP) cards and credit cards issued by Visa and MasterCard only). There is a £5,000 limit on payment value if payment is made in person using Chip & Pin verification.

It may be advisable to notify your debit or credit card provider of your intended purchase in advance to reduce delays caused by us having to seek authority when you come to pay.

Note: only one debit or credit card may be used for payment of an account balance. If you have any questions with regards to card payments, please contact our Customer Services Department.

10. COLLECTION AND STORAGE

The Buyer of a Lot will not be allowed to collect it until payment in full and in cleared funds has been made (unless we have made a special arrangement with the Buyer). For collection and removal of purchased Lots, please refer to Sale Information at the front of the Catalogue. Our offices are open 9.00am – 5pm Monday to Friday. Details relating to the collection of a Lot, the storage of a Lot and our Storage Contractor after the Sale are set out in the Catalogue.

11. SHIPPINGFor information and estimates on domestic and international shipping as well as export licenses please contact Alban Shipping on +44 (0) 1582 493 [email protected]

12. EXPORT/TRADE RESTRICTIONS

It is your sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licence(s). Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. The detailed provisions of the export licencing arrangements can be found on the ACE website http://www.artscouncil.org.uk/what-we-do/supporting-museums/cultural-property/export-controls/export-licensing/ or by phoning ACE on +44 (0)20 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions. The refusal of any import or export licence(s) or any delay in obtaining such licence(s) shall not permit the rescission of any Sale nor allow any delay in making full payment for the Lot. Generally, please contact our shipping department before the Sale if you require assistance in relation to export regulations.

13. CITES REGULATIONS

Please be aware that all Lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may be requested from:

Animal Health and Veterinary Laboratories Agency (AHVLA) Wildlife LicencingFloor 1, Zone 17, Temple Quay House2 The Square, Temple QuayBRISTOL BS1 6EBTel: +44 (0) 117 372 8774

14. THE SELLERS AND/OR BONHAMS’ LIABILITY

Other than any liability of the Seller to the Buyer of a Lot under the Contract for Sale, neither we nor the Seller are liable (whether in negligence or otherwise) for any error or misdescription or omission in any Description of a Lot or any Estimate in respect of it, whether contained in the Catalogue or

otherwise, whether given orally or in writing and whether given before or during the Sale. Neither we nor the Seller will be liable for any loss of Business, profits, revenue or income, or for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract (if any) or statutory duty, restitutionary claim or otherwise. In any circumstances where we and/or the Seller are liable in relation to any Lot or any Description or Estimate made of any Lot, or the conduct of any Sale in relation to any Lot, whether in damages, for an indemnity or contribution, or for a restitutionary remedy or otherwise, our and/or the Seller’s liability (combined, if both we and the Seller are liable) will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract (if any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) our liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or by the negligence of any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law or (v) our undertakings under paragraphs 9 (in relation to specialist Stamp or Book Sales only) and 10 of the Buyer’s Agreement. The same applies in respect of the Seller, as if references to us in this paragraph were substituted with references to the Seller.

15. BOOKS

As stated above, all Lots are sold on an “as is” basis, subject to all faults, imperfections and errors of Description save as set out below. However, you will be entitled to reject a Book in the circumstances set out in paragraph 11 of the Buyers Agreement. Please note that Lots comprising printed Books, unframed maps and bound manuscripts are not liable to VAT on the Buyer’s Premium.

16. CLOCKS AND WATCHES

All Lots are sold “as is”, and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, Bonhams makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Bidders should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.

17. FIREARMS – PROOF, CONDITION AND CERTIFICATION

Proof of Firearms The term “proof exemption” indicates that a firearm has been examined at a Proof House, but not proved, as either (a) it was deemed of interest and not intended for use, or (b) ammunition was not available. In either case, the firearm must be regarded as unsafe to fire unless subsequently proved. Firearms proved for Black Powder should not be used with smokeless ammunition.

The term “Certificate of Unprovability” indicates that a firearm has been examined at a Proof House and is deemed both unsuitable for proof and use. Reproof is required before any such firearm is to be used.

Guns Sold as Parts Barrels of guns sold as parts will only be made available for

sleeving and measurements once rendered unserviceable according to the Gun Barrel Proof Act of 1968 to 1978 and the Rules of Proof.

Condition of Firearms Comment in this Catalogue is restricted, in general, to exceptional condition and to those defects that might affect the immediate safety of a firearm in normal use. An intending Bidder unable to make technical examinations and assessments is recommended to seek advice from a gunmaker or from a modern firearms specialist. All prospective Bidders are advised to consult the ˚ of bore and wall-thickness measurements posted in the saleroom and available from the department. Bidders should note that guns are stripped only where there is a strong indication of a mechanical malfunction. Stripping is not, otherwise, undertaken. Guns intended for use should be stripped and cleaned beforehand. Hammer guns should have their rebound mechanisms checked before use. The safety mechanisms of all guns must be tested before use. All measurements are approximate.

Original Gun Specifications Derived from Gunmakers The Sporting Gun Department endeavours to confirm a gun’s original specification and date of manufacture with makers who hold their original records.

Licensing Requirements Firearms Act 1968 as amended Bonhams is constantly reviewing its procedures and would remind you that, in the case of firearms or shotguns subject to certification, to conform with current legislation, Bonhams is required to see, as appropriate, your original registered firearms dealer’s certificate / shot gun certificate / firearm certificate / museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for instance Crown servant status) for the firearm(s) you have purchased prior to taking full payment of the amount shown on your invoice. Should you not already be in possession of such an authority or exemption, you are required to initially pay a deposit of 95% of the total invoice with the balance of 5% payable on presentation of your valid certificate or licence showing your authority to hold the firearm(s) concerned.

Please be advised that if a successful Bidder is then unable to produce the correct paperwork, the Lot(s) will be reoffered by Bonhams in the next appropriate Sale, on standard terms for Sellers, and you will be responsible for any loss incurred by Bonhams on the original Sale to you.

In the case of RFD certificates and Section 5 authorities, we wish to keep an up-to-date copy on file. Please supply us with a Fax or photocopy. It would be helpful if you could send us an updated copy whenever your certificate or authority is renewed or changed.

Lots marked ‘S1´ and bearing red labels are Section 1 firearms and require a valid British Firearms certificate, RFD Licence or import licence.

Lots marked ‘S2’ and bearing blue labels are Section 2 firearms and require a valid British Shotgun certificate, RFD licence or import licence.

Lots marked ‘S5´ and bearing specially marked red labels are Section 5 prohibited firearms and require a valid Section 5 Authority or import licence.

Lots marked with a ‘S58´ and bearing yellow labels are for obsolete calibres and no licence is required unless ammunition is held.

Unmarked Lots require no licence.

Please do not hesitate to contact the Modern Sporting Gun Department should you have any queries.

Taxidermy and Related Items As a Seller of these articles, Bonhams undertakes to comply fully with Cites and DEFRA regulations. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange.

NTB/MAIN/3.2019

Debit cards (including China Union Pay (CUP) cards and debit cards issued by Visa and MasterCard only). There is no limit on payment value if payment is made in person using Chip & Pin verification. Payment by telephone may also be accepted up to £5,000, subject to appropriate verification procedures, although this facility is not available for first time buyers. If the amount payable by you for Lots exceeds that sum, the balance must be paid by other means.

Credit cards (including China Union Pay (CUP) cards and credit cards issued by Visa and MasterCard only). There is a £5,000 limit on payment value if payment is made in person using Chip & Pin verification.

It may be advisable to notify your debit or credit card provider of your intended purchase in advance to reduce delays caused by us having to seek authority when you come to pay.

Note: only one debit or credit card may be used for payment of an account balance. If you have any questions with regards to card payments, please contact our Customer Services Department.

10. COLLECTION AND STORAGE

The Buyer of a Lot will not be allowed to collect it until payment in full and in cleared funds has been made (unless we have made a special arrangement with the Buyer). For collection and removal of purchased Lots, please refer to Sale Information at the front of the Catalogue. Our offices are open 9.00am – 5pm Monday to Friday. Details relating to the collection of a Lot, the storage of a Lot and our Storage Contractor after the Sale are set out in the Catalogue.

11. SHIPPINGFor information and estimates on domestic and international shipping as well as export licenses please contact Alban Shipping on +44 (0) 1582 493 [email protected]

12. EXPORT/TRADE RESTRICTIONS

It is your sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licence(s). Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. The detailed provisions of the export licencing arrangements can be found on the ACE website http://www.artscouncil.org.uk/what-we-do/supporting-museums/cultural-property/export-controls/export-licensing/ or by phoning ACE on +44 (0)20 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions. The refusal of any import or export licence(s) or any delay in obtaining such licence(s) shall not permit the rescission of any Sale nor allow any delay in making full payment for the Lot. Generally, please contact our shipping department before the Sale if you require assistance in relation to export regulations.

13. CITES REGULATIONS

Please be aware that all Lots marked with the symbol Y are subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may be requested from:

Animal Health and Veterinary Laboratories Agency (AHVLA) Wildlife LicencingFloor 1, Zone 17, Temple Quay House2 The Square, Temple QuayBRISTOL BS1 6EBTel: +44 (0) 117 372 8774

14. THE SELLERS AND/OR BONHAMS’ LIABILITY

Other than any liability of the Seller to the Buyer of a Lot under the Contract for Sale, neither we nor the Seller are liable (whether in negligence or otherwise) for any error or misdescription or omission in any Description of a Lot or any Estimate in respect of it, whether contained in the Catalogue or

otherwise, whether given orally or in writing and whether given before or during the Sale. Neither we nor the Seller will be liable for any loss of Business, profits, revenue or income, or for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract (if any) or statutory duty, restitutionary claim or otherwise. In any circumstances where we and/or the Seller are liable in relation to any Lot or any Description or Estimate made of any Lot, or the conduct of any Sale in relation to any Lot, whether in damages, for an indemnity or contribution, or for a restitutionary remedy or otherwise, our and/or the Seller’s liability (combined, if both we and the Seller are liable) will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract (if any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) our liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or by the negligence of any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law or (v) our undertakings under paragraphs 9 (in relation to specialist Stamp or Book Sales only) and 10 of the Buyer’s Agreement. The same applies in respect of the Seller, as if references to us in this paragraph were substituted with references to the Seller.

15. BOOKS

As stated above, all Lots are sold on an “as is” basis, subject to all faults, imperfections and errors of Description save as set out below. However, you will be entitled to reject a Book in the circumstances set out in paragraph 11 of the Buyers Agreement. Please note that Lots comprising printed Books, unframed maps and bound manuscripts are not liable to VAT on the Buyer’s Premium.

16. CLOCKS AND WATCHES

All Lots are sold “as is”, and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, Bonhams makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Bidders should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.

17. FIREARMS – PROOF, CONDITION AND CERTIFICATION

Proof of Firearms The term “proof exemption” indicates that a firearm has been examined at a Proof House, but not proved, as either (a) it was deemed of interest and not intended for use, or (b) ammunition was not available. In either case, the firearm must be regarded as unsafe to fire unless subsequently proved. Firearms proved for Black Powder should not be used with smokeless ammunition.

The term “Certificate of Unprovability” indicates that a firearm has been examined at a Proof House and is deemed both unsuitable for proof and use. Reproof is required before any such firearm is to be used.

Guns Sold as Parts Barrels of guns sold as parts will only be made available for

sleeving and measurements once rendered unserviceable according to the Gun Barrel Proof Act of 1968 to 1978 and the Rules of Proof.

Condition of Firearms Comment in this Catalogue is restricted, in general, to exceptional condition and to those defects that might affect the immediate safety of a firearm in normal use. An intending Bidder unable to make technical examinations and assessments is recommended to seek advice from a gunmaker or from a modern firearms specialist. All prospective Bidders are advised to consult the ˚ of bore and wall-thickness measurements posted in the saleroom and available from the department. Bidders should note that guns are stripped only where there is a strong indication of a mechanical malfunction. Stripping is not, otherwise, undertaken. Guns intended for use should be stripped and cleaned beforehand. Hammer guns should have their rebound mechanisms checked before use. The safety mechanisms of all guns must be tested before use. All measurements are approximate.

Original Gun Specifications Derived from Gunmakers The Sporting Gun Department endeavours to confirm a gun’s original specification and date of manufacture with makers who hold their original records.

Licensing Requirements Firearms Act 1968 as amended Bonhams is constantly reviewing its procedures and would remind you that, in the case of firearms or shotguns subject to certification, to conform with current legislation, Bonhams is required to see, as appropriate, your original registered firearms dealer’s certificate / shot gun certificate / firearm certificate / museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for instance Crown servant status) for the firearm(s) you have purchased prior to taking full payment of the amount shown on your invoice. Should you not already be in possession of such an authority or exemption, you are required to initially pay a deposit of 95% of the total invoice with the balance of 5% payable on presentation of your valid certificate or licence showing your authority to hold the firearm(s) concerned.

Please be advised that if a successful Bidder is then unable to produce the correct paperwork, the Lot(s) will be reoffered by Bonhams in the next appropriate Sale, on standard terms for Sellers, and you will be responsible for any loss incurred by Bonhams on the original Sale to you.

In the case of RFD certificates and Section 5 authorities, we wish to keep an up-to-date copy on file. Please supply us with a Fax or photocopy. It would be helpful if you could send us an updated copy whenever your certificate or authority is renewed or changed.

Lots marked ‘S1´ and bearing red labels are Section 1 firearms and require a valid British Firearms certificate, RFD Licence or import licence.

Lots marked ‘S2’ and bearing blue labels are Section 2 firearms and require a valid British Shotgun certificate, RFD licence or import licence.

Lots marked ‘S5´ and bearing specially marked red labels are Section 5 prohibited firearms and require a valid Section 5 Authority or import licence.

Lots marked with a ‘S58´ and bearing yellow labels are for obsolete calibres and no licence is required unless ammunition is held.

Unmarked Lots require no licence.

Please do not hesitate to contact the Modern Sporting Gun Department should you have any queries.

Taxidermy and Related Items As a Seller of these articles, Bonhams undertakes to comply fully with Cites and DEFRA regulations. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange.

NTB/MAIN/3.2019

18. FURNITURE

Upholstered Furniture Whilst we take every care in cataloguing furniture which has been upholstered we offer no Guarantee as to the originality of the wood covered by fabric or upholstery.

19. JEWELLERY

Gemstones Historically many gemstones have been subjected to a variety of treatments to enhance their appearance. Sapphires and rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or resin for the same purpose. Other treatments such as staining, irradiation or coating may have been used on other gemstones. These treatments may be permanent, whilst others may need special care or re-treatment over the years to retain their appearance. Bidders should be aware that Estimates assume that gemstones may have been subjected to such treatments. A number of laboratories issue certificates that give more detailed Descriptions of gemstones. However there may not be consensus between different laboratories on the degrees, or types of treatment for any particular gemstone. In the event that Bonhams has been given or has obtained certificates for any Lot in the Sale these certificates will be disclosed in the Catalogue. Although, as a matter of policy, Bonhams endeavours to provide certificates from recognised laboratories for certain gemstones, it is not feasible to obtain certificates for each Lot. In the event that no certificate is published in the Catalogue, Bidders should assume that the gemstones may have been treated. Neither Bonhams nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any Lots subsequent to the Sale.

Estimated Weights If a stone(s) weight appears within the body of the Description in capital letters, the stone(s) has been unmounted and weighed by Bonhams. If the weight of the stone(s) is stated to be approximate and does not appear in capital letters, the stone(s) has been assessed by us within its/their settings, and the stated weight is a statement of our opinion only. This information is given as a guide and Bidders should satisfy themselves with regard to this information as to its accuracy.

Signatures 1. A diamond brooch, by Kutchinsky When the maker’s name appears in the title, in Bonhams’ opinion the piece is by that maker.

2. A diamond brooch, signed Kutchinsky Has a signature that, in Bonhams’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

3. A diamond brooch, mounted by Kutchinsky Has been created by the jeweller, in Bonhams’ opinion, but using stones or designs supplied by the client.

20. PHOTOGRAPHS

Explanation of Catalogue Terms• “Bill Brandt”: in our opinion a work by the artist.• “Attributed to Bill Brandt”: in our opinion probably a work by

the artist, but less certainty to authorship is expressed than in the preceding category.

• “Signed and/or titled and/or dated and/or inscribed”: in our opinion the signature and/or title and/or date and/or inscription are in the artist’s hand.

• “Signed and/or titled and/or dated and/or inscribed in another hand”: in our opinion the signature and/or title and/or date and/or inscription have been added by another hand.

• The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot Description). A vintage photograph is one which was made within approximately 5-10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be later, “printed later” will appear in the Lot Description.

• Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the Catalogue without margins illustrated.

• All photographs are sold unframed unless stated in the Lot Description.

21. PICTURES

Explanation of Catalogue Terms The following terms used in the Catalogue have the following meanings but are subject to the general provisions relating to Descriptions contained in the Contract for Sale:• “Jacopo Bassano”: in our opinion a work by the artist.

When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named;

• “Attributed to Jacopo Bassano”: in our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category;

• “Studio/Workshop of Jacopo Bassano”: in our opinion a work by an unknown hand in a studio of the artist which may or may not have been executed under the artist’s direction;

• “Circle of Jacopo Bassano”: in our opinion a work by a hand closely associated with a named artist but not necessarily his pupil;

• “Follower of Jacopo Bassano”: in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil;

• “Manner of Jacopo Bassano”: in our opinion a work in the style of the artist and of a later date;

• “After Jacopo Bassano”: in our opinion, a copy of a known work of the artist;

• “Signed and/or dated and/or inscribed”: in our opinion the signature and/or date and/or inscription are from the hand of the artist;

• “Bears a signature and/or date and/or inscription”: in our opinion the signature and/or date and/or inscription have been added by another hand.

22. PORCELAIN AND GLASS

Damage and Restoration For your guidance, in our Catalogues we detail, as far as practicable, recorded all significant defects, cracks and restoration. Such practicable Descriptions of damage cannot be definitive, and in providing Condition Reports, we cannot Guarantee that there are no other defects present which have not been mentioned. Bidders should satisfy themselves by inspection, as to the condition of each Lot. Please see the Contract for Sale printed in this Catalogue. Because of the difficulty in determining whether an item of glass has been repolished, in our Catalogues reference is only made to visible chips and cracks. No mention is made of repolishing, severe or otherwise.

23. VEHICLES

The Veteran Car Club of Great Britain Dating Plates and Certificates When mention is made of a Veteran Car Club Dating Plate or Dating Certificate in this Catalogue, it should be borne in mind that the Veteran Car Club of Great Britain using the services of Veteran Car Company Ltd, does from time to time, review cars already dated and, in some instances, where fresh evidence becomes available, the review can result in an alteration of date. Whilst the Club and Veteran Car Company Ltd make every effort to ensure accuracy, the date shown on the Dating Plate or Dating Certificate cannot be guaranteed as correct and intending purchasers should make their own enquiries as to the date of the car.

24. WINE

Lots which are lying under Bond and those liable to VAT may not be available for immediate collection.

Examining the wines It is occasionally possible to provide a pre-Sale tasting for larger parcels (as defined below). This is generally limited to more recent and everyday drinking wines. Please contact the department for details.

0It is not our policy to inspect every unopened case. In the case of wines older than 20 years the boxes will usually have been opened and levels and appearance noted in the Catalogue where necessary. You should make proper allowance for variations in ullage levels and conditions of corks, capsules and labels.

Corks and Ullages Ullage refers to the space between the base of the cork and the wine. Ullage levels for Bordeaux shaped bottles are only normally noted when below the neck and for Burgundy, Alsace, German and Cognac shaped bottles when greater than 4 centimetres (cm). Acceptable ullage levels increase with age; generally acceptable levels are as follows:

Under 15 years old – into neck or less than 4cm15 to 30 years old – top shoulder (ts) or up to 5cmOver 30 years old – high shoulder (hs) or up to 6cm

It should be noted that ullages may change between publication of the Catalogue and the Sale and that corks may fail as a result of transporting the wine. We will only accept responsibility for Descriptions of condition at the time of publication of the Catalogue and cannot accept responsibility for any loss resulting from failure of corks either before or after this point.

Options to buy parcels A parcel is a number of Lots of identical size of the same wine, bottle size and Description. The Buyer of any of these Lots has the option to accept some or all of the remaining Lots in the parcel at the same price, although such options will be at the Auctioneer’s sole discretion. Absentee Bidders are, therefore, advised to bid on the first Lot in a parcel.

Wines in Bond Wines lying in Bond are marked Δ. All Lots sold under Bond, and which the Buyer wishes to remain under Bond, will be invoiced without VAT or Duty on the Hammer Price. If the Buyer wishes to take the Lot as Duty paid, UK Excise Duty and VAT will be added to the Hammer Price on the invoice.

Buyers must notify Bonhams at the time of the sale whether they wish to take their wines under Bond or Duty paid. If a Lot is taken under Bond, the Buyer will be responsible for all VAT, Duty, clearance and other charges that may be payable thereon.

Buyers outside the UK must be aware that any forwarding agent appointed to export their purchases must have a movement certificate for Lots to be released under Bond.

Bottling Details and Case Terms The following terms used in the Catalogue have the following meanings:CB – Château bottled DB – Domaine bottledEstB – Estate bottled BB – Bordeaux bottledBE – Belgian bottledFB – French bottledGB – German bottledOB – Oporto bottledUK – United Kingdom bottledowc – original wooden caseiwc – individual wooden caseoc – original carton

NTB/MAIN/3.2019

SYMBOLS

THE FOLLOWING SYMBOLS ARE USED TO DENOTE

Y Subject to CITES regulations when exporting these items outside the EU, see clause 13.

TP Objects displayed with a TP will be located at the Cadogan Tate warehouse and will only be available for collection from this location.

W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for collection from this location.

Δ Wines lying in Bond.AR An Additional Premium will be payable to us by the Buyer

to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See clause 7 for details.

The Seller has been guaranteed a minimum price for the Lot, either by Bonhams or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful Sale or a financial loss if unsuccessful.

Bonhams owns the Lot either wholly or partially or may otherwise have an economic interest.

Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into

the USA.

•, †, *, G, Ω, a see clause 8, VAT, for details.

DATA PROTECTION – USE OF YOUR INFORMATION

Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London, W1S 1SR or by email from [email protected]

APPENDIX 1

CONTRACT FOR SALE

IMPORTANT: These terms may be changed in advance of the Sale of the Lot to you, by the setting out of different terms in the Catalogue for the Sale and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale at the Sale venue. You should be alert to this possibility of changes and ask in advance of bidding if there have been any.

Under this contract the Seller’s liability in respect of the quality of the Lot, it’s fitness for any purpose and its conformity with any Description is limited. You are strongly advised to examine the Lot for yourself and/or obtain an independent examination of it before you buy it.

1 THE CONTRACT

1.1 These terms govern the Contract for Sale of the Lot by the Seller to the Buyer.

1.2 The Definitions and Glossary contained in Appendix 3 in the Catalogue are incorporated into this Contract for Sale and a separate copy can also be provided by Bonhams on request. Where words and phrases are used which are in the List of Definitions, they are printed in italics.

1.3 The Seller sells the Lot as the principal to the Contract for Sale, such contract being made between the Seller and you through Bonhams which acts in the sole capacity as the Seller’s agent and not as an additional principal. However, if the Catalogue states that Bonhams sells the Lot as principal, or such a statement is made by an announcement by the Auctioneer, or by a notice at the Sale, or an insert in the Catalogue, then Bonhams is the Seller for the purposes of this agreement.

1.4 The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is knocked down to you.

2 SELLER’S UNDERTAKINGS

2.1 The Seller undertakes to you that:

2.1.1 the Seller is the owner of the Lot or is duly authorised to sell the Lot by the owner;

2.1.2 save as disclosed in the Entry for the Lot in the Catalogue, the Seller sells the Lot with full title guarantee or, where the Seller is an executor, trustee, liquidator, receiver or administrator, with whatever right, title or interest he may have in the Lot;

2.1.3 except where the Sale is by an executor, trustee, liquidator, receiver or administrator the Seller is both legally entitled to sell the Lot, and legally capable of conferring on you quiet possession of the Lot and that the Sale conforms in every respect with the terms implied by the Sale of Goods Act 1979, Sections 12(1) and 12(2) (see the Definitions and Glossary);

2.1.4 the Seller has complied with all requirements, legal or otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) been paid and, so far as the Seller is aware, all third parties have complied with such requirements in the past;

2.1.5 subject to any alterations expressly identified as such made by announcement or notice at the Sale venue or by the Notice to Bidders or by an insert in the Catalogue, the Lot corresponds with the Contractual Description of the Lot, being that part of the Entry about the Lot in the Catalogue which is in bold letters and (except for colour) with any photograph of the Lot in the Catalogue and the contents of any Condition Report which has been provided to the Buyer.

3 DESCRIPTIONS OF THE LOT

3.1 Paragraph 2.1.5 sets out what is the Contractual Description of the Lot. In particular, the Lot is not sold as corresponding with that part of the Entry in the Catalogue which is not printed in bold letters, which merely sets out (on the Seller’s behalf) Bonhams’ opinion about the Lot and which is not part of the Contractual Description upon which the Lot is sold. Any statement or representation other than that part of the Entry referred to in paragraph 2.1.5 (together with any express alteration to it as referred to in paragraph 2.1.5), including any Description or Estimate, whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether by or on behalf of the Seller or Bonhams and whether made prior to or during the Sale, is not part of the Contractual Description upon which the Lot is sold.

3.2 Except as provided in paragraph 2.1.5, the Seller does not make or give and does not agree to make or give any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact, or undertake any duty of care, in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by or on behalf of the Seller including by Bonhams. No such Description or Estimate is incorporated into this Contract for Sale.

4 FITNESS FOR PURPOSE AND SATISFACTORY QUALITY

4.1 The Seller does not make and does not agree to make any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact in relation to the satisfactory quality of the Lot or its fitness for any purpose.

4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose.

5 RISK, PROPERTY AND TITLE

5.1 Risk in the Lot passes to you when it is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. The Seller will not be responsible thereafter for the Lot prior to you collecting it from Bonhams or the Storage Contractor, with whom you have separate contract(s) as Buyer. You will indemnify the Seller and keep the Seller fully indemnified from and against all claims, proceedings, costs, expenses and losses arising in respect of any injury, loss and damage caused to the Lot after the fall of the Auctioneer’s hammer until you obtain full title to it.

5.2 Title to the Lot remains in and is retained by the Seller until the Purchase Price and all other sums payable by you to Bonhams in relation to the Lot have been paid in full to, and received in cleared funds by, Bonhams.

6 PAYMENT

6.1 Your obligation to pay the Purchase Price arises when the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot.

6.2 Time will be of the essence in relation to payment of the Purchase Price and all other sums payable by you to Bonhams. Unless agreed in writing with you by Bonhams on the Seller’s behalf (in which case you must comply with the terms of that agreement), all such sums must be paid to Bonhams by you in the currency in which the Sale was conducted by not later than 4.30pm on the second working day following the Sale and you must ensure that the funds are cleared by the seventh working day after the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to Bidders unless otherwise agreed with you in writing by Bonhams. If you do not pay any sums due in accordance with this paragraph, the Seller will have the rights set out in paragraph 8 below.

7 COLLECTION OF THE LOT

7.1 Unless otherwise agreed in writing with you by Bonhams, the Lot will be released to you or to your order only when Bonhams has received cleared funds to the amount of the full Purchase Price and all other sums owed by you to the Seller and to Bonhams.

7.2 The Seller is entitled to withhold possession from you of any other Lot he has sold to you at the same or at any other Sale and whether currently in Bonhams’ possession or not until payment in full and in cleared funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot.

7.3 You will collect and remove the Lot at your own expense from Bonhams’ custody and/ or control or from the Storage Contractor’s custody in accordance with Bonhams’ instructions or requirements.

7.4 You will be wholly responsible for packing, handling and transport of the Lot on collection and for complying with all import or export regulations in connection with the Lot.

7.5 You will be wholly responsible for any removal, storage or other charges or Expenses incurred by the Seller if you do not remove the Lot in accordance with this paragraph 7 and will indemnify the Seller against all charges, costs, including any legal costs and fees, Expenses and losses suffered by the Seller by reason of your failure to remove the Lot including any charges due under any Storage Contract. All such sums due to the Seller will be payable on demand.

NTB/MAIN/3.2019

SYMBOLS

THE FOLLOWING SYMBOLS ARE USED TO DENOTE

Y Subject to CITES regulations when exporting these items outside the EU, see clause 13.

TP Objects displayed with a TP will be located at the Cadogan Tate warehouse and will only be available for collection from this location.

W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for collection from this location.

Δ Wines lying in Bond.AR An Additional Premium will be payable to us by the Buyer

to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See clause 7 for details.

The Seller has been guaranteed a minimum price for the Lot, either by Bonhams or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful Sale or a financial loss if unsuccessful.

Bonhams owns the Lot either wholly or partially or may otherwise have an economic interest.

Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into

the USA.

•, †, *, G, Ω, a see clause 8, VAT, for details.


Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London, W1S 1SR or by email from [email protected]

APPENDIX 1

CONTRACT FOR SALE


Under this contract the Seller’s liability in respect of the quality of the Lot, it’s fitness for any purpose and its conformity with any Description is limited. You are strongly advised to examine the Lot for yourself and/or obtain an independent examination of it before you buy it.

1 THE CONTRACT

1.1 These terms govern the Contract for Sale of the Lot by the Seller to the Buyer.

1.2 The Definitions and Glossary contained in Appendix 3 in the Catalogue are incorporated into this Contract for Sale and a separate copy can also be provided by Bonhams on request. Where words and phrases are used which are in the List of Definitions, they are printed in italics.

1.3 The Seller sells the Lot as the principal to the Contract for Sale, such contract being made between the Seller and you through Bonhams which acts in the sole capacity as the Seller’s agent and not as an additional principal. However, if the Catalogue states that Bonhams sells the Lot as principal, or such a statement is made by an announcement by the Auctioneer, or by a notice at the Sale, or an insert in the Catalogue, then Bonhams is the Seller for the purposes of this agreement.

1.4 The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is knocked down to you.

2 SELLER’S UNDERTAKINGS

2.1 The Seller undertakes to you that:

2.1.1 the Seller is the owner of the Lot or is duly authorised to sell the Lot by the owner;

2.1.2 save as disclosed in the Entry for the Lot in the Catalogue, the Seller sells the Lot with full title guarantee or, where the Seller is an executor, trustee, liquidator, receiver or administrator, with whatever right, title or interest he may have in the Lot;

2.1.3 except where the Sale is by an executor, trustee, liquidator, receiver or administrator the Seller is both legally entitled to sell the Lot, and legally capable of conferring on you quiet possession of the Lot and that the Sale conforms in every respect with the terms implied by the Sale of Goods Act 1979, Sections 12(1) and 12(2) (see the Definitions and Glossary);

2.1.4 the Seller has complied with all requirements, legal or otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) been paid and, so far as the Seller is aware, all third parties have complied with such requirements in the past;

2.1.5 subject to any alterations expressly identified as such made by announcement or notice at the Sale venue or by the Notice to Bidders or by an insert in the Catalogue, the Lot corresponds with the Contractual Description of the Lot, being that part of the Entry about the Lot in the Catalogue which is in bold letters and (except for colour) with any photograph of the Lot in the Catalogue and the contents of any Condition Report which has been provided to the Buyer.

3 DESCRIPTIONS OF THE LOT

3.1 Paragraph 2.1.5 sets out what is the Contractual Description of the Lot. In particular, the Lot is not sold as corresponding with that part of the Entry in the Catalogue which is not printed in bold letters, which merely sets out (on the Seller’s behalf) Bonhams’ opinion about the Lot and which is not part of the Contractual Description upon which the Lot is sold. Any statement or representation other than that part of the Entry referred to in paragraph 2.1.5 (together with any express alteration to it as referred to in paragraph 2.1.5), including any Description or Estimate, whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether by or on behalf of the Seller or Bonhams and whether made prior to or during the Sale, is not part of the Contractual Description upon which the Lot is sold.

3.2 Except as provided in paragraph 2.1.5, the Seller does not make or give and does not agree to make or give any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact, or undertake any duty of care, in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by or on behalf of the Seller including by Bonhams. No such Description or Estimate is incorporated into this Contract for Sale.

4 FITNESS FOR PURPOSE AND SATISFACTORY QUALITY

4.1 The Seller does not make and does not agree to make any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact in relation to the satisfactory quality of the Lot or its fitness for any purpose.

4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose.

5 RISK, PROPERTY AND TITLE

5.1 Risk in the Lot passes to you when it is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. The Seller will not be responsible thereafter for the Lot prior to you collecting it from Bonhams or the Storage Contractor, with whom you have separate contract(s) as Buyer. You will indemnify the Seller and keep the Seller fully indemnified from and against all claims, proceedings, costs, expenses and losses arising in respect of any injury, loss and damage caused to the Lot after the fall of the Auctioneer’s hammer until you obtain full title to it.

5.2 Title to the Lot remains in and is retained by the Seller until the Purchase Price and all other sums payable by you to Bonhams in relation to the Lot have been paid in full to, and received in cleared funds by, Bonhams.

6 PAYMENT

6.1 Your obligation to pay the Purchase Price arises when the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot.

6.2 Time will be of the essence in relation to payment of the Purchase Price and all other sums payable by you to Bonhams. Unless agreed in writing with you by Bonhams on the Seller’s behalf (in which case you must comply with the terms of that agreement), all such sums must be paid to Bonhams by you in the currency in which the Sale was conducted by not later than 4.30pm on the second working day following the Sale and you must ensure that the funds are cleared by the seventh working day after the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to Bidders unless otherwise agreed with you in writing by Bonhams. If you do not pay any sums due in accordance with this paragraph, the Seller will have the rights set out in paragraph 8 below.


7.1 Unless otherwise agreed in writing with you by Bonhams, the Lot will be released to you or to your order only when Bonhams has received cleared funds to the amount of the full Purchase Price and all other sums owed by you to the Seller and to Bonhams.

7.2 The Seller is entitled to withhold possession from you of any other Lot he has sold to you at the same or at any other Sale and whether currently in Bonhams’ possession or not until payment in full and in cleared funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot.

7.3 You will collect and remove the Lot at your own expense from Bonhams’ custody and/ or control or from the Storage Contractor’s custody in accordance with Bonhams’ instructions or requirements.


7.5 You will be wholly responsible for any removal, storage or other charges or Expenses incurred by the Seller if you do not remove the Lot in accordance with this paragraph 7 and will indemnify the Seller against all charges, costs, including any legal costs and fees, Expenses and losses suffered by the Seller by reason of your failure to remove the Lot including any charges due under any Storage Contract. All such sums due to the Seller will be payable on demand.

NTB/MAIN/3.2019

8 FAILURE TO PAY FOR THE LOT

8.1 If the Purchase Price for a Lot is not paid to Bonhams in full in accordance with the Contract for Sale the Seller will be entitled, with the prior written agreement of Bonhams but without further notice to you, to exercise one or more of the following rights (whether through Bonhams or otherwise):

8.1.1 to terminate immediately the Contract for Sale of the Lot for your breach of contract;

8.1.2 to resell the Lot by auction, private treaty or any other means on giving seven days’ written notice to you of the intention to resell;

8.1.3 to retain possession of the Lot;

8.1.4 to remove and store the Lot at your expense;

8.1.5 to take legal proceedings against you for any sum due under the Contract for Sale and/or damages for breach of contract;

8.1.6 to be paid interest on any monies due (after as well as before judgement or order) at the annual rate of 5% per annum above the base rate of National Westminster Bank Plc from time to time to be calculated on a daily basis from the date upon which such monies become payable until the date of actual payment;

8.1.7 to repossess the Lot (or any part thereof) which has not become your property, and for this purpose (unless the Buyer buys the Lot as a Consumer from the Seller selling in the course of a Business) you hereby grant an irrevocable licence to the Seller by himself and to his servants or agents to enter upon all or any of your premises (with or without vehicles) during normal Business hours to take possession of the Lot or part thereof;

8.1.8 to retain possession of any other property sold to you by the Seller at the Sale or any other auction or by private treaty until all sums due under the Contract for Sale shall have been paid in full in cleared funds;

8.1.9 to retain possession of, and on seven days written notice to sell, Without Reserve, any of your other property in the possession of the Seller and/or of Bonhams (as bailee for the Seller) for any purpose (including, without limitation, other goods sold to you) and to apply any monies due to you as a result of such Sale in satisfaction or part satisfaction of any amounts owed to the Seller or to Bonhams; and

8.1.10 so long as such goods remain in the possession of the Seller or Bonhams as its bailee, to rescind the contract for the Sale of any other goods sold to you by the Seller at the Sale or at any other auction or by private treaty and apply any monies received from you in respect of such goods in part or full satisfaction of any amounts owed to the Seller or to Bonhams by you.

8.2 You agree to indemnify the Seller against all legal and other costs of enforcement, all losses and other Expenses and costs (including any monies payable to Bonhams in order to obtain the release of the Lot) incurred by the Seller (whether or not court proceedings will have been issued) as a result of Bonhams taking steps under this paragraph 8 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 8.1.6 from the date upon which the Seller becomes liable to pay the same until payment by you.

8.3 On any resale of the Lot under paragraph 8.1.2, the Seller will account to you in respect of any balance remaining from any monies received by him or on his behalf in respect of the Lot, after the payment of all sums due to the Seller and to Bonhams, within 28 days of receipt of such monies by him or on his behalf.

9 THE SELLER’S LIABILITY

9.1 The Seller will not be liable for any injury, loss or damage caused by the Lot after the fall of the Auctioneer’s hammer in respect of the Lot.

9.2 Subject to paragraph 9.3 below, except for breach of the express undertaking provided in paragraph 2.1.5, the Seller will not be liable for any breach of any term that the Lot will correspond with any Description applied to it by or on behalf of the Seller, whether implied by the Sale of Goods Act 1979 or otherwise.

9.3 Unless the Seller sells the Lot in the course of a Business and the Buyer buys it as a Consumer,

9.3.1 the Seller will not be liable (whether in negligence, other tort, breach of contract or statutory duty or in restitution or under the Misrepresentation Act 1967, or in any other way) for any lack of conformity with, or inaccuracy, error, misdescription or omission in any Description of the Lot or any Entry or Estimate in relation to the Lot made by or on behalf of the Seller (whether made in writing, including in the Catalogue, or on the Website, or orally, or by conduct or otherwise) and whether made before or after this agreement or prior to or during the Sale;

9.3.2 the Seller will not be liable for any loss of Business, Business profits or revenue or income or for loss of reputation or for disruption to Business or wasted time on the part of the Buyer or of the Buyer’s management or staff or, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract, statutory duty, restitutionary claim or otherwise;

9.3.3 in any circumstances where the Seller is liable to you in respect of the Lot, or any act, omission, statement, or representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for a restitutionary remedy or in any way whatsoever, the Seller’s liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract, statutory duty, bailee’s duty, restitutionary claim or otherwise.

9.4 Nothing set out in paragraphs 9.1 to 9.3 above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by the Seller’s negligence (or any person under the Seller’s control or for whom the Seller is legally responsible), or (iii) acts or omissions for which the Seller is liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law.

10 MISCELLANEOUS

10.1 You may not assign either the benefit or burden of the Contract for Sale.

10.2 The Seller’s failure or delay in enforcing or exercising any power or right under the Contract for Sale will not operate or be deemed to operate as a waiver of his rights under it except to the extent of any express waiver given to you in writing. Any such waiver will not affect the Seller’s ability subsequently to enforce any right arising under the Contract for Sale.

10.3 If either party to the Contract for Sale is prevented from performing that party’s respective obligations under the Contract for Sale by circumstances beyond its reasonable control or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 6.

10.4 Any notice or other communication to be given under the Contract for Sale must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission, if to the Seller, addressed c/o Bonhams at its address or fax number in the Catalogue (marked for the attention of the Company Secretary), and if to you to the address or fax number of the Buyer given in the Bidding Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

10.5 If any term or any part of any term of the Contract for Sale is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

10.6 References in the Contract for Sale to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees and agents.

10.7 The headings used in the Contract for Sale are for convenience only and will not affect its interpretation.

10.8 In the Contract for Sale “including” means “including, without limitation”.

10.9 References to the singular will include reference to the plural (and vice versa) and reference to any one gender will include reference to the other genders.

10.10 Reference to a numbered paragraph is to a paragraph of the Contract for Sale.

10.11 Save as expressly provided in paragraph 10.12 nothing in the Contract for Sale confers (or purports to confer) on any person who is not a party to the Contract for Sale any benefit conferred by, or the right to enforce any term of, the Contract for Sale.

10.12 Where the Contract for Sale confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of the Seller, it will also operate in favour and for the benefit of Bonhams, Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee and agent of Bonhams and such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or restriction within and for the purposes of Contracts (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who is not a party to the contract, and generally at law.

11 GOVERNING LAW

All transactions to which the Contract for Sale applies and all connected matters will be governed by and construed in accordance with the laws of that part of the United Kingdom where the Sale takes place and the Seller and you each submit to the exclusive jurisdiction of the courts of that part of the United Kingdom, save that the Seller may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the laws of the relevant jurisdiction. Bonhams has a complaints procedure in place.

NTB/MAIN/3.2019

APPENDIX 2

BUYER’S AGREEMENT


1 THE CONTRACT

1.1 These terms govern the contract between Bonhams personally and the Buyer, being the person to whom a Lot has been knocked down by the Auctioneer.

1.2 The Definitions and Glossary contained in Appendix 3 to the Catalogue for the Sale are incorporated into this agreement and a separate copy can also be provided by us on request. Where words and phrases which are defined in the List of Definitions are used in this agreement, they are printed in italics. Reference is made in this agreement to information printed in the Notice to Bidders, printed in the Catalogue for the Sale, and where such information is referred to it is incorporated into this agreement.

1.3 Except as specified in paragraph 4 of the Notice to Bidders the Contract for Sale of the Lot between you and the Seller is made on the fall of the Auctioneer’s hammer in respect of the Lot, when it is knocked down to you. At that moment a separate contract is also made between you and Bonhams on the terms in this Buyer’s Agreement.

1.4 We act as agents for the Seller and are not answerable or personally responsible to you for any breach of contract or other default by the Seller, unless Bonhams sells the Lot as principal.

1.5 Our personal obligations to you are governed by this agreement and we agree, subject to the terms below, to the following obligations:

1.5.1 we will, until the date and time specified in the Notice to Bidders or otherwise notified to you, store the Lot in accordance with paragraph 5;

1.5.2 subject to any power of the Seller or us to refuse to release the Lot to you, we will release the Lot to you in accordance with paragraph 4 once you have paid to us, in cleared funds, everything due to us and the Seller;

1.5.3 we will provide guarantees in the terms set out in paragraphs 9 and 10.

1.6 We do not make or give and do not agree to make or give any contractual promise, undertaking, obligation, Guarantee, warranty, representation of fact in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by us or on our behalf or by or on behalf of the Seller (whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise), and whether made before or after this agreement or prior to or during the Sale. No such Description or Estimate is incorporated into this agreement between you and us. Any such Description or Estimate, if made by us or on our behalf, was (unless Bonhams itself sells the Lot as principal) made as agent on behalf of the Seller.

2 PERFORMANCE OF THE CONTRACT FOR SALE

You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

3 PAYMENT

3.1 Unless agreed in writing between you and us or as otherwise set out in the Notice to Bidders, you must pay to us by not later than 4.30pm on the second working day following the Sale:

3.1.1 the Purchase Price for the Lot;

3.1.2 a Buyer’s Premium in accordance with the rates set out in the Notice to Bidders on each lot, and

3.1.3 if the Lot is marked [AR], an Additional Premium which is calculated and payable in accordance with the Notice to Bidders together with VAT on that sum if applicable so that all sums due to us are cleared funds by the seventh working day after the Sale.

3.2 You must also pay us on demand any Expenses payable pursuant to this agreement.

3.3 All payments to us must be made in the currency in which the Sale was conducted, using, unless otherwise agreed by us in writing, one of the methods of payment set out in the Notice to Bidders. Our invoices will only be addressed to the registered Bidder unless the Bidder is acting as an agent for a named principal and we have approved that arrangement, in which case we will address the invoice to the principal.

3.4 Unless otherwise stated in this agreement all sums payable to us will be subject to VAT at the appropriate rate and VAT will be payable by you on all such sums.

3.5 We may deduct and retain for our own benefit from the monies paid by you to us the Buyer’s Premium, the Commission payable by the Seller in respect of the Lot, any Expenses and VAT and any interest earned and/or incurred until payment to the Seller.

3.6 Time will be of the essence in relation to any payment payable to us. If you do not pay the Purchase Price, or any other sum due to us in accordance with this paragraph 3, we will have the rights set out in paragraph 7 below.

3.7 Where a number of Lots have been knocked down to you, any monies we receive from you will be applied firstly pro-rata to pay the Purchase Price of each Lot and secondly pro-rata to pay all amounts due to Bonhams.


4.1 Subject to any power of the Seller or us to refuse to release the Lot to you, once you have paid to us, in cleared funds, everything due to the Seller and to us, we will release the Lot to you or as you may direct us in writing. The Lot will only be released on production of a buyer collection document, obtained from our cashier’s office.

4.2 You must collect and remove the Lot at your own expense by the date and time specified in the Notice to Bidders, or if no date is specified, by 4.30pm on the seventh day after the Sale.

4.3 For the period referred to in paragraph 4.2, the Lot can be collected from the address referred to in the Notice to Bidders for collection on the days and times specified in the Notice to Bidders. Thereafter, the Lot may be removed elsewhere for storage and you must enquire from us as to when and where you can collect it, although this information will usually be set out in the Notice to Bidders.

4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, acting as your agent and on your behalf, to enter into a contract (the “Storage Contract”) with the Storage Contractor for the storage of the Lot on the then current standard terms and conditions agreed between Bonhams and the Storage Contractor (copies of which are available on request). If the Lot is stored at our premises storage fees at our current daily rates (currently a minimum of £3 plus VAT per Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage fees form part of our Expenses.

4.5 Until you have paid the Purchase Price and any Expenses in full the Lot will either be held by us as agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and ourselves on the terms contained in the Storage Contract.

4.6 You undertake to comply with the terms of any Storage Contract and in particular to pay the charges (and all costs of moving the Lot into storage) due under any Storage Contract. You acknowledge and agree that you will not be able to collect the Lot from the Storage Contractor’s premises until you have paid the Purchase Price, any Expenses and all charges due under the Storage Contract.


4.8 You will be wholly responsible for any removal, storage, or other charges for any Lot not removed in accordance with paragraph 4.2, payable at our current rates, and any Expenses we incur (including any charges due under the Storage Contract), all of which must be paid by you on demand and in any event before any collection of the Lot by you or on your behalf.

5 STORING THE LOT

We agree to store the Lot until the earlier of your removal of the Lot or until the time and date set out in the Notice to Bidders, on the Sale Information Page or at the back of the catalogue (or if no date is specified, by 4.30pm on the seventh day after the Sale) and, subject to paragraphs 6 and 10, to be responsible as bailee to you for damage to or the loss or destruction of the Lot (notwithstanding that it is not your property before payment of the Purchase Price). If you do not collect the Lot before the time and date set out in the Notice to Bidders (or if no date is specified, by 4.30pm on the seventh day after the Sale) we may remove the Lot to another location, the details of which will usually be set out in the relevant section of the Catalogue. If you have not paid for the Lot in accordance with paragraph 3, and the Lot is moved to any third party’s premises, the Lot will be held by such third party strictly to Bonhams’ order and we will retain our lien over the Lot until we have been paid in full in accordance with paragraph 3.

6 RESPONSIBILITY FOR THE LOT

6.1 Only on the payment of the Purchase Price to us will title in the Lot pass to you. However under the Contract for Sale, the risk in the Lot passed to you when it was knocked down to you.

6.2 You are advised to obtain insurance in respect of the Lot as soon as possible after the Sale.

NTB/MAIN/3.2019

APPENDIX 2

BUYER’S AGREEMENT


1 THE CONTRACT

1.1 These terms govern the contract between Bonhams personally and the Buyer, being the person to whom a Lot has been knocked down by the Auctioneer.

1.2 The Definitions and Glossary contained in Appendix 3 to the Catalogue for the Sale are incorporated into this agreement and a separate copy can also be provided by us on request. Where words and phrases which are defined in the List of Definitions are used in this agreement, they are printed in italics. Reference is made in this agreement to information printed in the Notice to Bidders, printed in the Catalogue for the Sale, and where such information is referred to it is incorporated into this agreement.

1.3 Except as specified in paragraph 4 of the Notice to Bidders the Contract for Sale of the Lot between you and the Seller is made on the fall of the Auctioneer’s hammer in respect of the Lot, when it is knocked down to you. At that moment a separate contract is also made between you and Bonhams on the terms in this Buyer’s Agreement.

1.4 We act as agents for the Seller and are not answerable or personally responsible to you for any breach of contract or other default by the Seller, unless Bonhams sells the Lot as principal.

1.5 Our personal obligations to you are governed by this agreement and we agree, subject to the terms below, to the following obligations:

1.5.1 we will, until the date and time specified in the Notice to Bidders or otherwise notified to you, store the Lot in accordance with paragraph 5;

1.5.2 subject to any power of the Seller or us to refuse to release the Lot to you, we will release the Lot to you in accordance with paragraph 4 once you have paid to us, in cleared funds, everything due to us and the Seller;

1.5.3 we will provide guarantees in the terms set out in paragraphs 9 and 10.

1.6 We do not make or give and do not agree to make or give any contractual promise, undertaking, obligation, Guarantee, warranty, representation of fact in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been made by us or on our behalf or by or on behalf of the Seller (whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise), and whether made before or after this agreement or prior to or during the Sale. No such Description or Estimate is incorporated into this agreement between you and us. Any such Description or Estimate, if made by us or on our behalf, was (unless Bonhams itself sells the Lot as principal) made as agent on behalf of the Seller.

2 PERFORMANCE OF THE CONTRACT FOR SALE

You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

3 PAYMENT

3.1 Unless agreed in writing between you and us or as otherwise set out in the Notice to Bidders, you must pay to us by not later than 4.30pm on the second working day following the Sale:

3.1.1 the Purchase Price for the Lot;

3.1.2 a Buyer’s Premium in accordance with the rates set out in the Notice to Bidders on each lot, and

3.1.3 if the Lot is marked [AR], an Additional Premium which is calculated and payable in accordance with the Notice to Bidders together with VAT on that sum if applicable so that all sums due to us are cleared funds by the seventh working day after the Sale.

3.2 You must also pay us on demand any Expenses payable pursuant to this agreement.

3.3 All payments to us must be made in the currency in which the Sale was conducted, using, unless otherwise agreed by us in writing, one of the methods of payment set out in the Notice to Bidders. Our invoices will only be addressed to the registered Bidder unless the Bidder is acting as an agent for a named principal and we have approved that arrangement, in which case we will address the invoice to the principal.

3.4 Unless otherwise stated in this agreement all sums payable to us will be subject to VAT at the appropriate rate and VAT will be payable by you on all such sums.

3.5 We may deduct and retain for our own benefit from the monies paid by you to us the Buyer’s Premium, the Commission payable by the Seller in respect of the Lot, any Expenses and VAT and any interest earned and/or incurred until payment to the Seller.

3.6 Time will be of the essence in relation to any payment payable to us. If you do not pay the Purchase Price, or any other sum due to us in accordance with this paragraph 3, we will have the rights set out in paragraph 7 below.

3.7 Where a number of Lots have been knocked down to you, any monies we receive from you will be applied firstly pro-rata to pay the Purchase Price of each Lot and secondly pro-rata to pay all amounts due to Bonhams.


4.1 Subject to any power of the Seller or us to refuse to release the Lot to you, once you have paid to us, in cleared funds, everything due to the Seller and to us, we will release the Lot to you or as you may direct us in writing. The Lot will only be released on production of a buyer collection document, obtained from our cashier’s office.

4.2 You must collect and remove the Lot at your own expense by the date and time specified in the Notice to Bidders, or if no date is specified, by 4.30pm on the seventh day after the Sale.

4.3 For the period referred to in paragraph 4.2, the Lot can be collected from the address referred to in the Notice to Bidders for collection on the days and times specified in the Notice to Bidders. Thereafter, the Lot may be removed elsewhere for storage and you must enquire from us as to when and where you can collect it, although this information will usually be set out in the Notice to Bidders.

4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, acting as your agent and on your behalf, to enter into a contract (the “Storage Contract”) with the Storage Contractor for the storage of the Lot on the then current standard terms and conditions agreed between Bonhams and the Storage Contractor (copies of which are available on request). If the Lot is stored at our premises storage fees at our current daily rates (currently a minimum of £3 plus VAT per Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage fees form part of our Expenses.

4.5 Until you have paid the Purchase Price and any Expenses in full the Lot will either be held by us as agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and ourselves on the terms contained in the Storage Contract.

4.6 You undertake to comply with the terms of any Storage Contract and in particular to pay the charges (and all costs of moving the Lot into storage) due under any Storage Contract. You acknowledge and agree that you will not be able to collect the Lot from the Storage Contractor’s premises until you have paid the Purchase Price, any Expenses and all charges due under the Storage Contract.


4.8 You will be wholly responsible for any removal, storage, or other charges for any Lot not removed in accordance with paragraph 4.2, payable at our current rates, and any Expenses we incur (including any charges due under the Storage Contract), all of which must be paid by you on demand and in any event before any collection of the Lot by you or on your behalf.

5 STORING THE LOT

We agree to store the Lot until the earlier of your removal of the Lot or until the time and date set out in the Notice to Bidders, on the Sale Information Page or at the back of the catalogue (or if no date is specified, by 4.30pm on the seventh day after the Sale) and, subject to paragraphs 6 and 10, to be responsible as bailee to you for damage to or the loss or destruction of the Lot (notwithstanding that it is not your property before payment of the Purchase Price). If you do not collect the Lot before the time and date set out in the Notice to Bidders (or if no date is specified, by 4.30pm on the seventh day after the Sale) we may remove the Lot to another location, the details of which will usually be set out in the relevant section of the Catalogue. If you have not paid for the Lot in accordance with paragraph 3, and the Lot is moved to any third party’s premises, the Lot will be held by such third party strictly to Bonhams’ order and we will retain our lien over the Lot until we have been paid in full in accordance with paragraph 3.

6 RESPONSIBILITY FOR THE LOT

6.1 Only on the payment of the Purchase Price to us will title in the Lot pass to you. However under the Contract for Sale, the risk in the Lot passed to you when it was knocked down to you.

6.2 You are advised to obtain insurance in respect of the Lot as soon as possible after the Sale.

NTB/MAIN/3.2019

7 FAILURE TO PAY OR TO REMOVE THE LOT AND PART PAYMENTS

7.1 If all sums payable to us are not so paid in full at the time they are due and/or the Lot is not removed in accordance with this agreement, we will without further notice to you be entitled to exercise one or more of the following rights (without prejudice to any rights we may exercise on behalf of the Seller):

7.1.1 to terminate this agreement immediately for your breach of contract;

7.1.2 to retain possession of the Lot;

7.1.3 to remove, and/or store the Lot at your expense;

7.1.4 to take legal proceedings against you for payment of any sums payable to us by you (including the Purchase Price) and/or damages for breach of contract;

7.1.5 to be paid interest on any monies due to us (after as well as before judgement or order) at the annual rate of 5% per annum above the base lending rate of National Westminster Bank Plc from time to time to be calculated on a daily basis from the date upon which such monies become payable until the date of actual payment;

7.1.6 to repossess the Lot (or any part thereof) which has not become your property, and for this purpose (unless you buy the Lot as a Consumer) you hereby grant an irrevocable licence to us, by ourselves, our servants or agents, to enter upon all or any of your premises (with or without vehicles) during normal business hours to take possession of any Lot or part thereof;

7.1.7 to sell the Lot Without Reserve by auction, private treaty or any other means on giving you three months’ written notice of our intention to do so;

7.1.8 to retain possession of any of your other property in our possession for any purpose (including, without limitation, other goods sold to you or with us for Sale) until all sums due to us have been paid in full;

7.1.9 to apply any monies received from you for any purpose whether at the time of your default or at any time thereafter in payment or part payment of any sums due to us by you under this agreement;

7.1.10 on three months’ written notice to sell, Without Reserve, any of your other property in our possession or under our control for any purpose (including other goods sold to you or with us for Sale) and to apply any monies due to you as a result of such Sale in payment or part payment of any amounts owed to us;

7.1.11 refuse to allow you to register for a future Sale or to reject a bid from you at any future Sale or to require you to pay a deposit before any bid is accepted by us at any future Sale in which case we will be entitled to apply such deposit in payment or part payment, as the case may be, of the Purchase Price of any Lot of which you are the Buyer.

7.2 You agree to indemnify us against all legal and other costs, all losses and all other Expenses (whether or not court proceedings will have been issued) incurred by us as a result of our taking steps under this paragraph 7 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 7.1.5 from the date upon which we become liable to pay the same until payment by you.

7.3 If you pay us only part of the sums due to us such payment shall be applied firstly to the Purchase Price of the Lot (or where you have purchased more than one Lot pro-rata towards the Purchase Price of each Lot) and secondly to the Buyer’s Premium (or where you have purchased more than one Lot pro-rata to the Buyer’s Premium on each Lot) and thirdly to any other sums due to us.

7.4 We will account to you in respect of any balance we hold remaining from any monies received by us in respect of any Sale of the Lot under our rights under this paragraph 7 after the payment of all sums due to us and/or the Seller within 28 days of receipt by us of all such sums paid to us.

8 CLAIMS BY OTHER PERSONS IN RESPECT OF THE LOT

8.1 Whenever it becomes apparent to us that the Lot is the subject of a claim by someone other than you and other than the Seller (or that such a claim can reasonably be expected to be made), we may, at our absolute discretion, deal with the Lot in any manner which appears to us to recognise the legitimate interests of ourselves and the other parties involved and lawfully to protect our position and our legitimate interests. Without prejudice to the generality of the discretion and by way of example, we may:

8.1.1 retain the Lot to investigate any question raised or reasonably expected by us to be raised in relation to the Lot; and/or

8.1.2 deliver the Lot to a person other than you; and/or

8.1.3 commence interpleader proceedings or seek any other order of any court, mediator, arbitrator or government body; and/or

8.1.4 require an indemnity and/or security from you in return for pursuing a course of action agreed to by you.

8.2 The discretion referred to in paragraph 8.1:

8.2.1 may be exercised at any time during which we have actual or constructive possession of the Lot, or at any time after such possession, where the cessation of such possession has occurred by reason of any decision, order or ruling of any court, mediator, arbitrator or government body; and

8.2.2 will not be exercised unless we believe that there exists a serious prospect of a good arguable case in favour of the claim.

9 FORGERIES

9.1 We undertake a personal responsibility for any Forgery in accordance with the terms of this paragraph 9.

9.2 Paragraph 9 applies only if:

9.2.1 your name appears as the named person to whom the original invoice was made out by us in respect of the Lot and that invoice has been paid; and

9.2.2 you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a Forgery, and in any event within one year after the Sale, that the Lot is a Forgery; and

9.2.3 within one month after such notification has been given, you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a Forgery and details of the Sale and Lot number sufficient to identify the Lot.

9.3 Paragraph 9 will not apply in respect of a Forgery if:

9.3.1 the Entry in relation to the Lot contained in the Catalogue reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion or reflected the then current opinion of an expert acknowledged to be a leading expert in the relevant field; or

9.3.2 it can be established that the Lot is a Forgery only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed.

9.4 You authorise us to carry out such processes and tests on the Lot as we in our absolute discretion consider necessary to satisfy ourselves that the Lot is or is not a Forgery.

9.5 If we are satisfied that a Lot is a Forgery we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims, in accordance with the provisions of Sections 12(1) and 12(2) of the Sale of Goods Act 1979 and we will pay to you an amount equal to the sum of the Purchase Price, Buyer’s Premium, VAT and Expenses paid by you in respect of the Lot.

9.6 The benefit of paragraph 9 is personal to, and incapable of assignment by, you.

9.7 If you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

9.8 Paragraph 9 does not apply to a Lot made up of or including a Chinese painting or Chinese paintings, a motor vehicle or motor vehicles, a Stamp or Stamps or a Book or Books.

10 OUR LIABILITY

10.1 We will not be liable whether in negligence, other tort, breach of contract or statutory duty or in restitution or under the Misrepresentation Act 1967 or in any other way for lack of conformity with or any inaccuracy, error, misdescription or omission in any Description of the Lot or any Entry or Estimate in respect of it, made by us or on our behalf or by or on behalf of the Seller (whether made in writing, including in the Catalogue, or on the Bonhams’ Website, or orally, or by conduct or otherwise) and whether made before or after this agreement or prior to or during the Sale.

10.2 Our duty to you while the Lot is at your risk and/or your property and in our custody and/or control is to exercise reasonable care in relation to it, but we will not be responsible for damage to the Lot or to other persons or things caused by:

10.2.1 handling the Lot if it was affected at the time of Sale to you by woodworm and any damage is caused as a result of it being affected by woodworm; or

10.2.2 changes in atmospheric pressure; nor will we be liable for:

10.2.3 damage to tension stringed musical instruments; or

10.2.4 damage to gilded picture frames, plaster picture frames or picture frame glass; and if the Lot is or becomes dangerous, we may dispose of it without notice to you in advance in any manner we think fit and we will be under no liability to you for doing so.

NTB/MAIN/3.2019

10.3.1 We will not be liable to you for any loss of Business, Business profits, revenue or income or for loss of Business reputation or for disruption to Business or wasted time on the part of the Buyer’s management or staff or, if you are buying the Lot in the course of a Business, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

10.3.2 Unless you buy the Lot as a Consumer, in any circumstances where we are liable to you in respect of a Lot, or any act, omission, statement, representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for a restitutionary remedy or in any way whatsoever, our liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot plus Buyer’s Premium (less any sum you may be entitled to recover from the Seller) irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

You may wish to protect yourself against loss by obtaining insurance.

10.4 Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law, or (v) under our undertaking in paragraph 9 of these conditions.

11 BOOKS MISSING TEXT OR ILLUSTRATIONS

Where the Lot is made up wholly of a Book or Books and any Book does not contain text or illustrations (in either case referred to as a “non-conforming Lot”), we undertake a personal responsibility for such a non-conforming Lot in accordance with the terms of this paragraph, if:

the original invoice was made out by us to you in respect of the Lot and that invoice has been paid; and

you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a non-conforming Lot, and in any event within 20 days after the Sale (or such longer period as we may agree in writing) that the Lot is a non-conforming Lot; and

within 20 days of the date of the relevant Sale (or such longer period as we may agree in writing) you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a non-conforming Lot and details of the Sale and Lot number sufficient to identify the Lot.

but not if:

the Entry in the Catalogue in respect of the Lot indicates that the rights given by this paragraph do not apply to it; or

the Entry in the Catalogue in respect of the Lot reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion; or

it can be established that the Lot is a non-conforming Lot only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed; or

the Lot comprises atlases, maps, autographs, manuscripts, extra illustrated books, music or periodical publications; or

the Lot was listed in the Catalogue under “collections” or “collections and various” or the Lot was stated in the Catalogue to comprise or contain a collection, issue or Books which are undescribed or the missing text or illustrations are referred to or the relevant parts of the Book contain blanks, half titles or advertisements.

If we are reasonably satisfied that a Lot is a non- conforming Lot, we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims and we will pay to you an amount equal to the sum of the Purchase Price and Buyer’s Premium paid by you in respect of the Lot.

The benefit of paragraph 10 is personal to, and incapable of assignment by, you and if you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

12 MISCELLANEOUS

12.1 You may not assign either the benefit or burden of this agreement.

12.2 Our failure or delay in enforcing or exercising any power or right under this agreement will not operate or be deemed to operate as a waiver of our rights under it except to the extent of any express waiver given to you in writing. Any such waiver will not affect our ability subsequently to enforce any right arising under this agreement.

12.3 If either party to this agreement is prevented from performing that party’s respective obligations under this agreement by circumstances beyond its reasonable control or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 3.

12.4 Any notice or other communication to be given under this agreement must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission (if to Bonhams marked for the attention of the Company Secretary), to the address or fax number of the relevant party given in the Contract Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

12.5 If any term or any part of any term of this agreement is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

12.6 References in this agreement to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees and agents.

12.7 The headings used in this agreement are for convenience only and will not affect its interpretation.

12.8 In this agreement “including” means “including, without limitation”.


12.10 Reference to a numbered paragraph is to a paragraph of this agreement.

12.11 Save as expressly provided in paragraph 12.12 nothing in this agreement confers (or purports to confer) on any person who is not a party to this agreement any benefit conferred by, or the right to enforce any term of, this agreement.

12.12 Where this agreement confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of Bonhams, it will also operate in favour and for the benefit of Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee and agent of Bonhams and such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or restriction within and for the purposes of Contracts (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who is not a party to the contract, and generally at law.

13 GOVERNING LAW

All transactions to which this agreement applies and all connected matters will be governed by and construed in accordance with the laws of that part of the United Kingdom where the Sale takes (or is to take) place and we and you each submit to the exclusive jurisdiction of the courts of that part of the United Kingdom, save that we may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the laws of the relevant jurisdiction. Bonhams has a complaints procedure in place.


Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR, United Kingdom or by email from [email protected].

APPENDIX 3

DEFINITIONS AND GLOSSARY

Where these Definitions and Glossary are incorporated, the following words and phrases used have (unless the context otherwise requires) the meanings given to them below. The Glossary is to assist you to understand words and phrases which have a specific legal meaning with which you may not be familiar.

LIST OF DEFINITIONS

“Additional Premium” a premium, calculated in accordance with the Notice to Bidders, to cover Bonhams’ Expenses relating to the payment of royalties under the Artists Resale Right Regulations 2006 which is payable by the Buyer to Bonhams on any Lot marked [AR] which sells for a Hammer Price which together with the Buyer’s Premium (but excluding any VAT) equals or exceeds 1000 euros (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).“Auctioneer” the representative of Bonhams conducting the Sale.

NTB/MAIN/3.2019

10.3.1 We will not be liable to you for any loss of Business, Business profits, revenue or income or for loss of Business reputation or for disruption to Business or wasted time on the part of the Buyer’s management or staff or, if you are buying the Lot in the course of a Business, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

10.3.2 Unless you buy the Lot as a Consumer, in any circumstances where we are liable to you in respect of a Lot, or any act, omission, statement, representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for a restitutionary remedy or in any way whatsoever, our liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot plus Buyer’s Premium (less any sum you may be entitled to recover from the Seller) irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from negligence, other tort, breach of contract, statutory duty, bailee’s duty, a restitutionary claim or otherwise.

You may wish to protect yourself against loss by obtaining insurance.

10.4 Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or any person under our control or for whom we are legally responsible), or (iii) acts or omissions for which we are liable under the Occupiers Liability Act 1957, or (iv) any other liability to the extent the same may not be excluded or restricted as a matter of law, or (v) under our undertaking in paragraph 9 of these conditions.

11 BOOKS MISSING TEXT OR ILLUSTRATIONS

Where the Lot is made up wholly of a Book or Books and any Book does not contain text or illustrations (in either case referred to as a “non-conforming Lot”), we undertake a personal responsibility for such a non-conforming Lot in accordance with the terms of this paragraph, if:

the original invoice was made out by us to you in respect of the Lot and that invoice has been paid; and

you notify us in writing as soon as reasonably practicable after you have become aware that the Lot is or may be a non-conforming Lot, and in any event within 20 days after the Sale (or such longer period as we may agree in writing) that the Lot is a non-conforming Lot; and

within 20 days of the date of the relevant Sale (or such longer period as we may agree in writing) you return the Lot to us in the same condition as it was at the time of the Sale, accompanied by written evidence that the Lot is a non-conforming Lot and details of the Sale and Lot number sufficient to identify the Lot.

but not if:

the Entry in the Catalogue in respect of the Lot indicates that the rights given by this paragraph do not apply to it; or

the Entry in the Catalogue in respect of the Lot reflected the then accepted general opinion of scholars and experts or fairly indicated that there was a conflict of such opinion; or

it can be established that the Lot is a non-conforming Lot only by means of a process not generally accepted for use until after the date on which the Catalogue was published or by means of a process which it was unreasonable in all the circumstances for us to have employed; or

the Lot comprises atlases, maps, autographs, manuscripts, extra illustrated books, music or periodical publications; or

the Lot was listed in the Catalogue under “collections” or “collections and various” or the Lot was stated in the Catalogue to comprise or contain a collection, issue or Books which are undescribed or the missing text or illustrations are referred to or the relevant parts of the Book contain blanks, half titles or advertisements.

If we are reasonably satisfied that a Lot is a non- conforming Lot, we will (as principal) purchase the Lot from you and you will transfer the title to the Lot in question to us, with full title guarantee, free from any liens, charges, encumbrances and adverse claims and we will pay to you an amount equal to the sum of the Purchase Price and Buyer’s Premium paid by you in respect of the Lot.

The benefit of paragraph 10 is personal to, and incapable of assignment by, you and if you sell or otherwise dispose of your interest in the Lot, all rights and benefits under this paragraph will cease.

12 MISCELLANEOUS

12.1 You may not assign either the benefit or burden of this agreement.

12.2 Our failure or delay in enforcing or exercising any power or right under this agreement will not operate or be deemed to operate as a waiver of our rights under it except to the extent of any express waiver given to you in writing. Any such waiver will not affect our ability subsequently to enforce any right arising under this agreement.

12.3 If either party to this agreement is prevented from performing that party’s respective obligations under this agreement by circumstances beyond its reasonable control or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 3.

12.4 Any notice or other communication to be given under this agreement must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission (if to Bonhams marked for the attention of the Company Secretary), to the address or fax number of the relevant party given in the Contract Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

12.5 If any term or any part of any term of this agreement is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

12.6 References in this agreement to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees and agents.

12.7 The headings used in this agreement are for convenience only and will not affect its interpretation.

12.8 In this agreement “including” means “including, without limitation”.


12.10 Reference to a numbered paragraph is to a paragraph of this agreement.

12.11 Save as expressly provided in paragraph 12.12 nothing in this agreement confers (or purports to confer) on any person who is not a party to this agreement any benefit conferred by, or the right to enforce any term of, this agreement.

12.12 Where this agreement confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of Bonhams, it will also operate in favour and for the benefit of Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee and agent of Bonhams and such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or restriction within and for the purposes of Contracts (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who is not a party to the contract, and generally at law.

13 GOVERNING LAW

All transactions to which this agreement applies and all connected matters will be governed by and construed in accordance with the laws of that part of the United Kingdom where the Sale takes (or is to take) place and we and you each submit to the exclusive jurisdiction of the courts of that part of the United Kingdom, save that we may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the laws of the relevant jurisdiction. Bonhams has a complaints procedure in place.


Where we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our Website www.bonhams.com or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR, United Kingdom or by email from [email protected].

APPENDIX 3

DEFINITIONS AND GLOSSARY

Where these Definitions and Glossary are incorporated, the following words and phrases used have (unless the context otherwise requires) the meanings given to them below. The Glossary is to assist you to understand words and phrases which have a specific legal meaning with which you may not be familiar.

LIST OF DEFINITIONS

“Additional Premium” a premium, calculated in accordance with the Notice to Bidders, to cover Bonhams’ Expenses relating to the payment of royalties under the Artists Resale Right Regulations 2006 which is payable by the Buyer to Bonhams on any Lot marked [AR] which sells for a Hammer Price which together with the Buyer’s Premium (but excluding any VAT) equals or exceeds 1000 euros (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).“Auctioneer” the representative of Bonhams conducting the Sale.

NTB/MAIN/3.2019

“Bidder” a person who has completed a Bidding Form. “Bidding Form” our Bidding Registration Form, our Absentee Bidding Form or our Telephone Bidding Form. “Bonhams” Bonhams 1793 Limited or its successors or assigns. Bonhams is also referred to in the Buyer’s Agreement, the Conditions of Business and the Notice to Bidders by the words “we”, “us” and “our”.“Book” a printed Book offered for Sale at a specialist Book Sale.“Business” includes any trade, Business and profession.“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to in the Contract for Sale and the Buyer’s Agreement by the words “you” and “your”.“Buyer’s Agreement” the contract entered into by Bonhams with the Buyer (see Appendix 2 in the Catalogue). “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in the Notice to Bidders. “Catalogue” the Catalogue relating to the relevant Sale, including any representation of the Catalogue published on our Website.“Commission” the Commission payable by the Seller to Bonhams calculated at the rates stated in the Contract Form.“Condition Report” a report on the physical condition of a Lot provided to a Bidder or potential Bidder by Bonhams on behalf of the Seller.“Conditions of Sale” the Notice to Bidders, Contract for Sale, Buyer’s Agreement and Definitions and Glossary. “Consignment Fee” a fee payable to Bonhams by the Seller calculated at rates set out in the Conditions of Business.“Consumer” a natural person who is acting for the relevant purpose outside his trade, Business or profession. “Contract Form” the Contract Form, or vehicle Entry form, as applicable, signed by or on behalf of the Seller listing the Lots to be offered for Sale by Bonhams. “Contract for Sale” the Sale contract entered into by the Seller with the Buyer (see Appendix 1 in the Catalogue). “Contractual Description” the only Description of the Lot (being that part of the Entry about the Lot in the Catalogue which is in bold letters, any photograph (except for the colour) and the contents of any Condition Report) to which the Seller undertakes in the Contract of Sale the Lot corresponds.“Description” any statement or representation in any way descriptive of the Lot, including any statement or representation relating to its authorship, attribution, condition, provenance, authenticity, style, period, age, suitability, quality, origin, value, estimated selling price (including the Hammer Price).“Entry” a written statement in the Catalogue identifying the Lot and its Lot number which may contain a Description and illustration(s) relating to the Lot.“Estimate” a statement of our opinion of the range within which the hammer is likely to fall.“Expenses” charges and Expenses paid or payable by Bonhams in respect of the Lot including legal Expenses, banking charges and Expenses incurred as a result of an electronic transfer of money, charges and Expenses for loss and damage cover, insurance, Catalogue and other reproductions and illustrations, any customs duties, advertising, packing or shipping costs, reproductions rights’ fees, taxes, levies, costs of testing, searches or enquiries, preparation of the Lot for Sale, storage charges, removal charges, removal charges or costs of collection from the Seller as the Seller’s agents or from a defaulting Buyer, plus VAT if applicable.“Forgery” an imitation intended by the maker or any other person to deceive as to authorship, attribution, origin, authenticity, style, date, age, period, provenance, culture, source or composition, which at the date of the Sale had a value materially less than it would have had if the Lot had not been such an imitation, and which is not stated to be such an imitation in any description of the Lot. A Lot will not be a Forgery by reason of any damage to, and/or restoration and/ or modification work (including repainting or over painting) having been carried out on the Lot, where that damage,restoration or modification work (as the case may be) does not substantially affect the identity of the Lot as one conforming to the Description of the Lot.“Guarantee” the obligation undertaken personally by Bonhams to the Buyer in respect of any Forgery and, in the case of specialist Stamp Sales and/or specialist Book Sales, a Lot made up of a Stamp or Stamps or a Book or Books as set out in the Buyer’s Agreement.“Hammer Price” the price in the currency in which the Sale is conducted at which a Lot is knocked down by the Auctioneer.

“Loss and Damage Warranty” means the warranty described in paragraph 8.2 of the Conditions of Business. “Loss and Damage Warranty Fee” means the fee described in paragraph 8.2.3 of the Conditions of Business.“Lot” any item consigned to Bonhams with a view to its Sale at auction or by private treaty (and reference to any Lot will include, unless the context otherwise requires, reference to individual items comprised in a group of two or more items offered for Sale as one Lot).“Motoring Catalogue Fee” a fee payable by the Seller to Bonhams in consideration of the additional work undertaken by Bonhams in respect of the cataloguing of motor vehicles and in respect of the promotion of Sales of motor vehicles.“New Bond Street” means Bonhams’ saleroom at 101 New Bond Street, London W1S 1SR.“Notional Charges” the amount of Commission and VAT which would have been payable if the Lot had been sold at the Notional Price.“Notional Fee” the sum on which the Consignment Fee payable to Bonhams by the Seller is based and which is calculated according to the formula set out in the Conditions of Business.“Notional Price” the latest in time of the average of the high and low Estimates given by us to you or stated in the Catalogue or, if no such Estimates have been given or stated, the Reserve applicable to the Lot.“Notice to Bidders” the notice printed at the back or front of our Catalogues.“Purchase Price” the aggregate of the Hammer Price and VAT on the Hammer Price (where applicable), the Buyer’s Premium and VAT on the Buyer’s Premium and any Expenses.“Reserve” the minimum price at which a Lot may be sold (whether at auction or by private treaty).“Sale” the auction Sale at which a Lot is to be offered for Sale by Bonhams.“Sale Proceeds” the net amount due to the Seller from the Sale of a Lot, being the Hammer Price less the Commission, any VAT chargeable thereon, Expenses and any other amount due to us in whatever capacity and howsoever arising.“Seller” the person who offers the Lot for Sale named on the Contract Form. Where the person so named identifies on the form another person as acting as his agent, or where the person named on the Contract Form acts as an agent for a principal (whether such agency is disclosed to Bonhams or not), “Seller” includes both the agent and the principal who shall be jointly and severally liable as such. The Seller is also referred to in the Conditions of Business by the words “you” and “your”.“Specialist Examination” a visual examination of a Lot by a specialist on the Lot.“Stamp” means a postage Stamp offered for Sale at a Specialist Stamp Sale.“Standard Examination” a visual examination of a Lot by a non-specialist member of Bonhams’ staff. “Storage Contract” means the contract described in paragraph 8.3.3 of the Conditions of Business or paragraph 4.4 of the Buyer’s Agreement (as appropriate). “Storage Contractor” means the company identified as such in the Catalogue.“Terrorism” means any act or threatened act of terrorism, whether any person is acting alone or on behalf of or in connection with any organisation(s) and/or government(s), committed for political, religious or ideological or similar purposes including, but not limited to, the intention to influence any government and/or put the public or any section of the public into fear.“Trust Account” the bank account of Bonhams into which all sums received in respect of the Purchase Price of anyLot will be paid, such account to be a distinct and separate account to Bonhams’ normal business bank account. “VAT” value added tax at the prevailing rate at the date of the Sale in the United Kingdom.“Website” Bonhams Website at www.bonhams.com “Withdrawal Notice” the Seller’s written notice to Bonhams revoking Bonhams’ instructions to sell a Lot. “Without Reserve” where there is no minimum price at which a Lot may be sold (whether at auction or by private treaty).

GLOSSARY

The following expressions have specific legal meanings with which you may not be familiar. The following glossary is intended to give you an understanding of those expressions but is not intended to limit their legal meanings:

“artist’s resale right”: the right of the creator of a work of art to receive a payment on Sales of that work subsequent to the original Sale of that work by the creator of it as set out in the Artists Resale Right Regulations 2006. “bailee”: a person to whom goods are entrusted. “indemnity”: an obligation to put the person who has the benefit of the indemnity in the same position in which he would have been, had the circumstances giving rise to the indemnity not arisen and the expression “indemnify” is construed accordingly.“interpleader proceedings”: proceedings in the Courts to determine ownership or rights over a Lot.“knocked down”: when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.“lien”: a right for the person who has possession of the Lot to retain possession of it.“risk”: the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “title”: the legal and equitable right to the ownership of a Lot.“tort”: a legal wrong done to someone to whom the wrong doer has a duty of care.

SALE OF GOODS ACT 1979

The following is an extract from the Sale of Goods Act 1979:

“Section 12 Implied terms about title, etc

(1) In a contract of sale, other than one to which subsection (3) below applies, there is an implied term on the part of the seller that in the case of a sale he has a right to sell the goods, and in the case of an agreement to sell he will have such a right at the time when the property is to pass.

(2) In a contract of sale, other than one to which subsection (3) below applies, there is also an implied term that-

(a) the goods are free, and will remain free until the time when the property is to pass, from any charge or encumbrance not disclosed or known to the buyer before the contract is made, and

(b) the buyer will enjoy quiet possession of the goods except in so far as it may be disturbed by the owner or other person entitled to the benefit of any charge or encumbrance so disclosed or known.

(3) This subsection applies to a contract of sale in the case of which there appears from the contract or is to be inferred from its circumstances an intention that the seller should transfer only such title as he or a third person may have.

(4) In a contract to which subsection (3) above applies there is an implied term that all charges or encumbrances known to the seller and not known to the buyer have been disclosed to the buyer before the contract is made.

(5) In a contract to which subsection (3) above applies there is also an implied term that none of the following will disturb the buyer’s quiet possession of the goods, namely:

(a) the seller;

(b) in a case where the parties to the contract intend that the seller should transfer only such title as a third person may have, that person;

(c) anyone claiming through or under the seller or that third person otherwise than under a charge or encumbrance disclosed or known to the buyer before the contract is made.

(5A) As regards England and Wales and Northern Ireland, the term implied by subsection (1) above is a condition and the terms implied by subsections (2), (4) and (5) above are warranties.”

NTB/MAIN/3.2019

Client Services Departments

U.S.A.

San Francisco (415) 861 7500 (415) 861 8951 fax Monday - Friday, 9am to 5pm

Los Angeles (323) 850 7500 (323) 850 6090 fax Monday - Friday, 9am to 5pm

New York (212) 644 9001 (212) 644 9009 fax Monday - Friday, 9am to 5pm

Toll Free (800) 223 2854

U.K.

Monday to Friday 8.30 to 6.00 +44 (0) 20 7447 7447

Bids +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax To bid via the internet please visit bonhams.com

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Bonhams Specialist Departments

19th Century PaintingsLondonCharles O’ Brien+44 20 7468 8360New YorkMadalina Lazen+1 212 644 9108

20th Century British ArtLondonMatthew Bradbury+44 20 7468 8295

20th Century Fine ArtSan FranciscoSonja Moro+1 415 503 3412

Aboriginal ArtAustraliaFrancesca Cavazzini+61 2 8412 2222

African, Oceanic & Pre-Columbian Art Los AngelesFredric W. Backlar+1 323 436 5416 •

American PaintingsNew YorkJennifer Jacobsen+1 917 206 1699Elizabeth Goodridge+1 917 206 1621

AntiquitiesLondonFrancesca Hickin+44 20 7468 8226

Antique Arms & Armour LondonDavid Williams+44 20 7393 3807

Art Collections, Estates & ValuationsLondonHarvey Cammell+44 (0) 20 7468 8340New YorkSherri Cohen+1 917 206 1671Los AngelesLeslie Wright+1 323 436 5408 Joseph Francaviglia+1 323 436 5443Lydia Ganley+1 323 436 4496San FranciscoVictoria Richardson+1 415 503 3207Celeste Smith+1 415 503 3214

Australian ArtAustraliaMerryn Schriever+61 2 8412 2222Alex Clark+61 3 8640 4088

Australian Colonial Furniture and Australiana+61 2 8412 2222

Books, Maps & Manuscripts LondonMatthew Haley+44 20 7393 3817New YorkIan Ehling+1 212 644 9094Darren Sutherland+1 212 461 6531Los AngelesCatherine Williamson+1 323 436 5442San FranciscoAdam Stackhouse+1 415 503 3266

British & European GlassLondonJohn Sandon+44 20 7468 8244

British CeramicsLondonJohn Sandon+44 20 7468 8244

California & Western Paintings & Sculpture Los AngelesScot Levitt+1 323 436 5425Kathy Wong+1 323 436 5415San FranciscoAaron Bastian+1 415 503 3241

CarpetsLondonHelena Gumley-Mason+44 20 8393 2615

Chinese & Asian ArtLondonAsaph Hyman +44 20 7468 5888New YorkBruce MacLaren, +1 917 206 1677 Ming Hua +1 646 837 8132Harold Yeo +1 917 206 1628 •Los AngelesRachel Du+1 323 436 5587San FranciscoDessa Goddard +1 415 503 3333 Henry Kleinhenz+1 415 503 3336Daniel Herskee+1 415 503 3271Lingling Shang+1 415 503 3207 •Amelia Chao+1 415 503 3397Hong KongXibo Wang, +852 3607 0010AustraliaYvett Klein, +61 2 8412 2231

Chinese PaintingsHong KongIris Miao,+852 3607 0011

ClocksLondonJames Stratton+44 20 7468 8364New YorkJonathan Snellenburg+1 212 461 6530

Coins & MedalsLondonJohn Millensted+44 20 7393 3914Los AngelesPaul Song+1 323 436 5455

Entertainment MemorabiliaLondonKatherine Schofield+44 20 7393 3871Los Angeles Catherine Williamson+1 323 436 5442Dana Hawkes +1 978 283 1518

European Ceramics LondonSebastian Kuhn+44 20 7468 8384

European PaintingsLondonCharles O’ Brien+44 20 7468 8360 New YorkMadalina Lazen+1 212 644 9108Los AngelesMark Fisher+1 323 436 5488Rocco Rich+1 323 436 5410

European Sculptures & Works of ArtLondonMichael Lake+44 20 8963 6813

Furniture and Decorative ArtLondonThomas Moore+44 20 8963 2816Los AngelesAngela Past+1 323 436 5422Anna Hicks+1 323 436 5463

Greek ArtLondonAnastasia Orfanidou+44 20 7468 8356

Golf Sporting MemorabiliaEdinburghKevin McGimpsey+44 131 240 2296Hamish Wilson+44 131 240 0916

Irish ArtLondonPenny Day+44 20 7468 8366

Impressionist & Modern ArtLondonIndia Phillips+44 20 7468 8328New YorkCaitlyn Pickens+1 212 644 9135Los AngelesKathy Wong+1 323 436 5415

Indian, Himalayan &Southeast Asian ArtNew YorkMark Rasmussen+1 917 206 1688Hong KongEdward Wilkinson+852 2918 4321

Islamic & Indian ArtLondonOliver White+44 20 7468 8303

Japanese ArtLondonSuzannah Yip+44 20 7468 8368New YorkJeff Olson+1 212 461 6516

JewelleryLondonJean Ghika+44 20 7468 8282Emily Barber+44 20 7468 8284New YorkBrett O’Connor+1 212 461 6525Caroline Morrissey+1 212 644 9046Camille Barbier +1 212 644 9035Los AngelesDana Ehrman +1 323 436 5407Emily Waterfall+1 323 436 5426San FranciscoShannon Beck+1 415 503 3306Hong KongPaul Redmayne +852 3607 0006

Marine ArtLondonVeronique Scorer+44 20 7393 3962

Mechanical MusicLondonJon Baddeley+44 20 7393 3872

Modern & Contemporary African ArtLondon Giles Peppiatt+ 44 20 7468 8355New YorkHayley Grundy+1 917 206 1624

Modern & Contemporary Middle Eastern ArtLondonNima Sagharchi+44 20 7468 8342

Modern & Contemporary South Asian ArtLondonTahmina Ghaffar+44 207 468 8382

Modern Decorative Art + DesignLondonMark Oliver+44 20 7393 3856New YorkBenjamin Walker +1 212 710 1306Dan Tolson +1 917 206 1611Los AngelesJason Stein+1 323 436 5466

Motor CarsLondonTim Schofield+44 20 7468 5804New YorkRupert Banner+1 212 461 6515 Eric Minoff+1 917 206 1630Evan Ide+1 917 340 4657Los AngelesJakob Greisen+1 415 503 3284Michael Caimano+1 929 666 2243San FranciscoMark Osborne+1 415 503 3353EuropePhilip Kantor+32 476 879 471

AutomobiliaLondonToby Wilson+44 20 8963 2842Adrian Pipiros+44 20 8963 2840

MotorcyclesLondonBen Walker+44 20 8963 2819James Stensel+44 20 8963 2818Los AngelesCraig Mallery+1 323 436 5470

Museum ServicesSan FranciscoLaura King Pfaff+1 415 503 3210

Native American ArtSan FranciscoIngmars Lindbergs+1 415 503 3393

Natural HistoryLos AngelesClaudia Florian+1 323 436 5437+1 310 469 8567 •Thomas E. Lindgren+1 310 469 8567 •

Old Master PicturesLondonAndrew Mckenzie+44 20 7468 8261Los AngelesMark Fisher+1 323 436 5488

Orientalist ArtLondonCharles O’Brien+44 20 7468 8360

PhotographyNew YorkLaura Paterson+1 917 206 1653Los Angeles & San FranciscoMorisa Rosenberg+1 323 436 5435+1 415 503 3259

Post-War and Contemporary Art LondonRalph Taylor+44 20 7447 7403New YorkMuys Snijders, + 212 644 9020Jeremy Goldsmith, + 1 917 206 1656Jacqueline Towers-Perkins, +1 212 644 9039Lisa De Simone, +1 917 206 1607Los AngelesSharon Squires+1 323 436 5404Laura Bjorstad+1 323 436 5446

Prints and MultiplesLondonLucia Tro Santafe+44 20 7468 8262New YorkDeborah Ripley+1 212 644 9059Los AngelesMorisa Rosenberg+1 323 447 9374

Russian ArtLondonDaria Khristova +44 20 7468 8334New YorkYelena Harbick+1 212 644 9136

Scientific InstrumentsLondonJon Baddeley+44 20 7393 3872New YorkJonathan Snellenburg+1 212 461 6530

Scottish PicturesEdinburghChris Brickley+44 131 240 2297

Silver & Gold BoxesLondonEllis Finch+44 20 7393 3973

Sporting GunsLondonPatrick Hawes+44 20 7393 3815

Space HistorySan FranciscoAdam Stackhouse+1 415 503 3266

Travel PicturesLondonVeronique Scorer+44 20 7393 3962

Watches & WristwatchesLondonJonathan Darracott+44 20 7447 7412New YorkJonathan Snellenburg+1 212 461 6530Hong KongTim Bourne+852 3607 0021

WhiskyEdinburghMartin Green+44 131 225 2266Hong KongDaniel Lam+852 2918 4321

WineLondonRichard Harvey+44 20 7468 5811San FranciscoChristine Ballard+1 415 503 3221Hong KongDaniel Lam+852 2918 4321

• Indicates independent contractor


U.S.A.




Toll Free (800) 223 2854

U.K.



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U.S.A.




Toll Free (800) 223 2854

U.K.



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Bonhams Global Network

London101 New Bond StreetLondon W1S 1SR+44 20 7447 7447+44 20 7447 7400 fax

New York580 Madison AvenueNew York, NY10022+1 (212) 644 9001+1 (212) 644 9007 fax

Hong Kong Suite 2001One Pacific Place88 QueenswayAdmiraltyHong Kong+852 2918 4321+852 2918 4320 fax

LondonMontpelier Street London SW7 1HH+44 20 7393 3900+44 20 7393 3905 fax

AFRICA

NigeriaNeil Coventry+234 (0)8110 033 792+27 (0)7611 [email protected]

South Africa - JohannesburgPenny Culverwell+27 (0)71 342 [email protected]

AUSTRALIA

Sydney97-99 Queen Street, Woollahra, NSW 2025Australia+61 (0) 2 8412 2222+61 (0) 2 9475 4110 [email protected]

MelbourneComo HouseComo AvenueSouth Yarra Melbourne VIC 3141Australia+61 (0) 3 8640 4088+61 (0) 2 9475 4110 [email protected]

ASIA

BeijingJessica ZhangSuite 511Chang An Club10 East Chang An AvenueBeijing 100006+86(0) 10 6528 0922+86(0) 10 6528 0933 [email protected]

SingaporeBernadette Rankine11th Floor, Wisma Atria435 Orchard RoadSingapore 238877+65 (0) 6701 8038+65 (0) 6701 8001 [email protected]

Taiwan37th Floor, Taipei 101 TowerNo. 7 Xinyi Road, Section 5Taipei, 100+886 2 8758 2898+886 2 8758 2897 [email protected]

EUROPE

AustriaThomas Kamm+49 (0) 89 2420 [email protected]

BelgiumBoulevardSaint-Michel 1011040 Brussels+32 (0) 2 736 [email protected] France4 rue de la Paix75002 Paris+33 (0) 1 42 61 10 [email protected] Germany - CologneKatharina Schmid+49 (0) 221 9865 3419+49 (0) 157 9234 [email protected]

Germany - HamburgMarie Becker Lingenthal+49 (0) 17 4236 [email protected]

Germany - MunichMaximilianstrasse 5280538 Munich+49 (0) 89 2420 [email protected] Germany - StuttgartNeue Brücke 2New Bridge Offices70173 Stuttgart+49 (0) 711 2195 2640+49 (0) 157 9234 [email protected] Greece7 Neofytou Vamva StreetAthens 10674+30 (0) 210 3636 [email protected] Ireland31 Molesworth StreetDublin 2+353 (0) 1 602 [email protected]

Italy - MilanVia Boccaccio 2220123 Milano+39 0 2 4953 [email protected]

Italy - RomeVia Sicilia 5000187 Roma+39 06 485 [email protected] The NetherlandsDe Lairessestraat 1541075 HL Amsterdam+31 (0) 20 67 09 [email protected] PortugalRua Bartolomeu Dias nº160. 1ºBelem1400-031 Lisbon+351 218 293 [email protected] Spain - BarcelonaTeresa Ybarra+34 930 156 686 +34 680 347 [email protected] Spain - MadridNúñez de Balboa no 4-1C28001 Madrid+34 915 78 17 [email protected]

Switzerland - GenevaRue Etienne-Dumont 101204 Geneva+41 (0) 22 300 [email protected]

Switzerland - ZurichAndrea BodmerDreikönigstrasse 31a8002 Zürich+41 44 281 [email protected]

NORTH AMERICA

USA

Representatives: Arizona Terri Adrian-Hardy+1 (602) 859 [email protected]

CaliforniaCentral ValleyDavid Daniel+1 (916) 364 [email protected]

CaliforniaPalm SpringsBrooke Sivo+1 (760) 350 [email protected] CaliforniaSan DiegoBrooke Sivo+1 (760) 567 [email protected]

ColoradoLance Vigil+1 (720) 355 [email protected]

FloridaApril Matteini+1 (305) 978 [email protected] Butler+1 (305) 878 [email protected]

GeorgiaMary Moore Bethea+1 (404) 842 [email protected]

Illinois & MidwestNatalie B. Waechter+1 (773) 267 [email protected]

International Salerooms

Offices and Associated Companies

MassachusettsAmy Corcoran+1 (617) 742 [email protected]

NevadaDavid Daniel+1 (775) 831 [email protected]

New MexicoTerri Adrian-Hardy+1 (602) 859 [email protected]

OregonSheryl Acheson+1 (971) 727 [email protected]

Texas – DallasMary Holm+1 (214) 557 [email protected]

Texas – HoustonLindsay Davis+1 (713) 855 [email protected]

VirginiaGertraud Hechl+1 (202) 422 2733 [email protected]

Washington Heather O’Mahony+1 (206) 566 [email protected]

Washington DCMid-Atlantic RegionGertraud Hechl+1 (202) 422 2733washingtonDC @bonhams.com

Canada

Toronto, Ontario Kristin Kearney340 King St East2nd Floor, Office 213Toronto ON M5A 1K8+1 (416) 462 [email protected]

Montreal, QuebecDavid Kelsey+1 (514) 894 [email protected]

MIDDLE EAST

IsraelJoslynne Halibard+972 (0)54 553 [email protected]

SOUTH AMERICA

Brazil+55 11 3031 4444+55 11 3031 4444 fax

UNITED KINGDOM

South East England

Guildford Millmead,Guildford,Surrey GU2 4BE+44 1483 504 030+44 1483 450 205 fax

Isle of Wight+44 1273 220 000

Representative:Brighton & HoveTim Squire-Sanders+44 1273 220 000

West Sussex+44 (0) 1273 220 000

South WestEngland

Bath Queen Square HouseCharlotte StreetBath BA1 2LL+44 1225 788 988+44 1225 446 675 fax

Cornwall – Truro 36 Lemon StreetTruroCornwallTR1 2NR+44 1872 250 170+44 1872 250 179 fax

ExeterThe LodgeSouthernhay West Exeter, DevonEX1 1JG+44 1392 425 264 +44 1392 494 561 fax

TetburyEight Bells House14 Church StreetTetburyGloucestshireGL8 8JG+44 1666 502 200+44 1666 505 107 fax

Representatives:DorsetBill Allan+44 1935 815 271

East Anglia and Bury St. EdmundsMichael Steel+44 1284 716 190

NorfolkThe Market PlaceReephamNorfolk NR10 4JJ+44 1603 871 443+44 1603 872 973 fax

Midlands

Knowle The Old HouseStation RoadKnowle, SolihullWest MidlandsB93 0HT+44 1564 776 151+44 1564 778 069 fax

OxfordBanbury RoadShipton on CherwellKidlington OX5 1JH+44 1865 853 640+44 1865 372 722 fax

Yorkshire & North East England

Leeds The West WingBowcliffe HallBramhamLeedsLS23 6LP+44 113 234 5755+44 113 244 3910 fax

North West England

Chester 2 St Johns Court,Vicars Lane,Chester,CH1 1QE+44 1244 313 936+44 1244 340 028 fax

ManchesterThe Stables213 Ashley RoadHale WA15 9TB+44 161 927 3822+44 161 927 3824 fax

Channel Islands

JerseyLa ChasseLa Rue de la ValleeSt MaryJersey JE3 3DL+44 1534 722 441+44 1534 759 354 fax

Representative:Guernsey+44 1481 722 448

Scotland

Bonhams West of ScotlandKirkhill HouseBroom Road EastNewton MearnsGlasgowG77 5LL+44 141 223 8866

Wales

Representatives:CardiffJeff Muse+44 2920 727 980

Edinburgh22 Queen StreetEdinburghEH2 1JX+44 131 225 2266+44 131 220 2547 fax

Los Angeles7601 W. Sunset BoulevardLos AngelesCA 90046+1 (323) 850 7500+1 (323) 850 6090 fax

San Francisco220 San Bruno AvenueSan FranciscoCA 94103+1 (415) 861 7500+1 (415) 861 8951 fax

G-NET23/1/19

Bonhams Global Network

London101 New Bond StreetLondon W1S 1SR+44 20 7447 7447+44 20 7447 7400 fax

New York580 Madison AvenueNew York, NY10022+1 (212) 644 9001+1 (212) 644 9007 fax

Hong Kong Suite 2001One Pacific Place88 QueenswayAdmiraltyHong Kong+852 2918 4321+852 2918 4320 fax

LondonMontpelier Street London SW7 1HH+44 20 7393 3900+44 20 7393 3905 fax

AFRICA

NigeriaNeil Coventry+234 (0)8110 033 792+27 (0)7611 [email protected]

South Africa - JohannesburgPenny Culverwell+27 (0)71 342 [email protected]

AUSTRALIA

Sydney97-99 Queen Street, Woollahra, NSW 2025Australia+61 (0) 2 8412 2222+61 (0) 2 9475 4110 [email protected]

MelbourneComo HouseComo AvenueSouth Yarra Melbourne VIC 3141Australia+61 (0) 3 8640 4088+61 (0) 2 9475 4110 [email protected]

ASIA

BeijingJessica ZhangSuite 511Chang An Club10 East Chang An AvenueBeijing 100006+86(0) 10 6528 0922+86(0) 10 6528 0933 [email protected]

SingaporeBernadette Rankine11th Floor, Wisma Atria435 Orchard RoadSingapore 238877+65 (0) 6701 8038+65 (0) 6701 8001 [email protected]

Taiwan37th Floor, Taipei 101 TowerNo. 7 Xinyi Road, Section 5Taipei, 100+886 2 8758 2898+886 2 8758 2897 [email protected]

EUROPE

AustriaThomas Kamm+49 (0) 89 2420 [email protected]

BelgiumBoulevardSaint-Michel 1011040 Brussels+32 (0) 2 736 [email protected] France4 rue de la Paix75002 Paris+33 (0) 1 42 61 10 [email protected] Germany - CologneKatharina Schmid+49 (0) 221 9865 3419+49 (0) 157 9234 [email protected]

Germany - HamburgMarie Becker Lingenthal+49 (0) 17 4236 [email protected]

Germany - MunichMaximilianstrasse 5280538 Munich+49 (0) 89 2420 [email protected] Germany - StuttgartNeue Brücke 2New Bridge Offices70173 Stuttgart+49 (0) 711 2195 2640+49 (0) 157 9234 [email protected] Greece7 Neofytou Vamva StreetAthens 10674+30 (0) 210 3636 [email protected] Ireland31 Molesworth StreetDublin 2+353 (0) 1 602 [email protected]

Italy - MilanVia Boccaccio 2220123 Milano+39 0 2 4953 [email protected]

Italy - RomeVia Sicilia 5000187 Roma+39 06 485 [email protected] The NetherlandsDe Lairessestraat 1541075 HL Amsterdam+31 (0) 20 67 09 [email protected] PortugalRua Bartolomeu Dias nº160. 1ºBelem1400-031 Lisbon+351 218 293 [email protected] Spain - BarcelonaTeresa Ybarra+34 930 156 686 +34 680 347 [email protected] Spain - MadridNúñez de Balboa no 4-1C28001 Madrid+34 915 78 17 [email protected]

Switzerland - GenevaRue Etienne-Dumont 101204 Geneva+41 (0) 22 300 [email protected]

Switzerland - ZurichAndrea BodmerDreikönigstrasse 31a8002 Zürich+41 44 281 [email protected]

NORTH AMERICA

USA

Representatives: Arizona Terri Adrian-Hardy+1 (602) 859 [email protected]

CaliforniaCentral ValleyDavid Daniel+1 (916) 364 [email protected]

CaliforniaPalm SpringsBrooke Sivo+1 (760) 350 [email protected] CaliforniaSan DiegoBrooke Sivo+1 (760) 567 [email protected]

ColoradoLance Vigil+1 (720) 355 [email protected]

FloridaApril Matteini+1 (305) 978 [email protected] Butler+1 (305) 878 [email protected]

GeorgiaMary Moore Bethea+1 (404) 842 [email protected]

Illinois & MidwestNatalie B. Waechter+1 (773) 267 [email protected]

International Salerooms

Offices and Associated Companies

MassachusettsAmy Corcoran+1 (617) 742 [email protected]

NevadaDavid Daniel+1 (775) 831 [email protected]

New MexicoTerri Adrian-Hardy+1 (602) 859 [email protected]

OregonSheryl Acheson+1 (971) 727 [email protected]

Texas – DallasMary Holm+1 (214) 557 [email protected]

Texas – HoustonLindsay Davis+1 (713) 855 [email protected]

VirginiaGertraud Hechl+1 (202) 422 2733 [email protected]

Washington Heather O’Mahony+1 (206) 566 [email protected]

Washington DCMid-Atlantic RegionGertraud Hechl+1 (202) 422 2733washingtonDC @bonhams.com

Canada

Toronto, Ontario Kristin Kearney340 King St East2nd Floor, Office 213Toronto ON M5A 1K8+1 (416) 462 [email protected]

Montreal, QuebecDavid Kelsey+1 (514) 894 [email protected]

MIDDLE EAST

IsraelJoslynne Halibard+972 (0)54 553 [email protected]

SOUTH AMERICA

Brazil+55 11 3031 4444+55 11 3031 4444 fax

UNITED KINGDOM

South East England

Guildford Millmead,Guildford,Surrey GU2 4BE+44 1483 504 030+44 1483 450 205 fax

Isle of Wight+44 1273 220 000

Representative:Brighton & HoveTim Squire-Sanders+44 1273 220 000

West Sussex+44 (0) 1273 220 000

South WestEngland

Bath Queen Square HouseCharlotte StreetBath BA1 2LL+44 1225 788 988+44 1225 446 675 fax

Cornwall – Truro 36 Lemon StreetTruroCornwallTR1 2NR+44 1872 250 170+44 1872 250 179 fax

ExeterThe LodgeSouthernhay West Exeter, DevonEX1 1JG+44 1392 425 264 +44 1392 494 561 fax

TetburyEight Bells House14 Church StreetTetburyGloucestshireGL8 8JG+44 1666 502 200+44 1666 505 107 fax

Representatives:DorsetBill Allan+44 1935 815 271

East Anglia and Bury St. EdmundsMichael Steel+44 1284 716 190

NorfolkThe Market PlaceReephamNorfolk NR10 4JJ+44 1603 871 443+44 1603 872 973 fax

Midlands

Knowle The Old HouseStation RoadKnowle, SolihullWest MidlandsB93 0HT+44 1564 776 151+44 1564 778 069 fax

OxfordBanbury RoadShipton on CherwellKidlington OX5 1JH+44 1865 853 640+44 1865 372 722 fax

Yorkshire & North East England

Leeds The West WingBowcliffe HallBramhamLeedsLS23 6LP+44 113 234 5755+44 113 244 3910 fax

North West England

Chester 2 St Johns Court,Vicars Lane,Chester,CH1 1QE+44 1244 313 936+44 1244 340 028 fax

ManchesterThe Stables213 Ashley RoadHale WA15 9TB+44 161 927 3822+44 161 927 3824 fax

Channel Islands

JerseyLa ChasseLa Rue de la ValleeSt MaryJersey JE3 3DL+44 1534 722 441+44 1534 759 354 fax

Representative:Guernsey+44 1481 722 448

Scotland

Bonhams West of ScotlandKirkhill HouseBroom Road EastNewton MearnsGlasgowG77 5LL+44 141 223 8866

Wales

Representatives:CardiffJeff Muse+44 2920 727 980

Edinburgh22 Queen StreetEdinburghEH2 1JX+44 131 225 2266+44 131 220 2547 fax

Los Angeles7601 W. Sunset BoulevardLos AngelesCA 90046+1 (323) 850 7500+1 (323) 850 6090 fax

San Francisco220 San Bruno AvenueSan FranciscoCA 94103+1 (415) 861 7500+1 (415) 861 8951 fax

G-NET23/1/19

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

Preferred number(s) in order for Telephone Bidding (inc. country code)

E-mail (in capitals)

I am registering to bid as a private buyer I am registering to bid as a trade buyer

If registered for VAT in the EU please enter your registration here:

/ - -

This sale will be conducted in accordance with Bonhams’ Conditions of Sale and bidding and buying at the Sale will be regulated by these Conditions. You should read the Conditions in conjunction with the Sale Information relating to this Sale which sets out the charges payable by you on the purchases you make and other terms relating to bidding and buying at the Sale. You should ask any questions you have about the Conditions before signing this form. These Conditions also contain certain undertakings by bidders and buyers and limit Bonhams’ liability to bidders and buyers.

Data protection – use of your informationWhere we obtain any personal information about you, we shall only use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. We may disclose your personal information to any member of our group which means our subsidiaries, our ultimate holding company and its subsidiaries (whether registered in the UK or elsewhere). We will not disclose your data to anyone outside our group but we may from time to time provide you with information about goods and services which we feel maybe of interest to you including those provided by third parties.Would you like to receive information from us by email? or post

Notice to Bidders.Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference.

If successfulI will collect the purchases myself Please arrange shippers to contact me with a quote and I agree that you may pass them my contact details.

Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above. Paddle number (for office use only)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form.Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids.General Bid Increments:£10 - 200 .....................by 10s£200 - 500 ...................by 20 / 50 / 80s£500 - 1,000 ................by 50s£1,000 - 2,000 .............by 100s£2,000 - 5,000 .............by 200 / 500 / 800s£5,000 - 10,000 ...........by 500s

£10,000 - 20,000 .........by 1,000s£20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s£50,000 - 100,000 .......by 5,000s£100,000 - 200,000 .....by 10,000sabove £200,000 ...........at the auctioneer’s discretion

Telephone or Absentee (T / A) Lot no. Brief description

MAX bid in GBP (excluding premium & VAT)

Covering bid *

The auctioneer has discretion to split any bid at any time.

Please note that all telephone calls are recorded.

FOR WINE SALES ONLY

Please leave lots “available under bond” in bond Please include delivery charges (minimum charge of £20 + VAT)

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding.

UK/10/18

Please tick if you have registered with us before

By providing your email address above, you authorise Bonhams to send to this address information relating to Sales, marketing material and news concerning Bonhams. Bonhams does not sell or trade email addresses.

The Greek Sale 17 April 2019

25348 New Bond Street, London

BACKENDPAPER


Bonhams101 New Bond Street

London W1S 1SR

+44 (0) 20 7447 7447 bonhams.com

AUCTIONEERS SINCE 1793

Documents

The Greek Sale FOTIS KONTOGLOU (1895-1965) Alexander the Great signed in Greek (lower right) and titled in Greek (upper part) oil on canvas laid on hardboard 22 x 16 cm. £4,000 -